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The NEWS MAGAZINE of the SCREEN
GRETA GARBO AND CLARK GAB'
HOLLYWOOD'S CRUELTY
TO GRETA GARBO
an
Bfl®UD
O) CO O) 0)(0
mm
"I've tried all ciga-
rettes and there's none so good
as LUCKIES. And incidentally
I'm careful in my choice of ciga-
rettes. I have to be because of
my throat. Put me down as one
who always reaches for a LUCKY.
It's a real delight to find a
Cellophane wrapper that
opens without an ice pick.
Jean Harlow first set the
screen ablaze in "Hell's Angels/' the
great air film/ and she almost stole the
show from a fleet of fifty planes. See her
"Goldie," a Fox film, and Columbia's
"Platinum Blonde."
It's toasted
Your Throat Protection — against Irritation — against cough
And Moisture-Proof Cellophane Keeps
that "Toasted" Flavor Ever Fresh
Photoplay Magazine for January, 1932
The Family conference—
about the "pink" on Mother's tooth brush!
PEOPLE used to be able to enjoy
"pink tooth brush" in peace and
quiet! But not today! Dental science
has found out too much about it! And
if the new generation doesn't warn you
about it, your dentist is certain to.
Why is "pink tooth brush" so com-
mon an ailment in this day and age?
"Because," says modern science, "to
remain sound, the gums need the stimu-
lation which only coarse foods can give
them. But modern foods are soft foods
— and, lacking exercise, gums tend to
become touchy. Eventually, they be-
come so tender that they bleed."
"Pink tooth brush" may cause the
teeth to lose their sparkle. It all too
often leads to serious gum troubles such
as gingivitis or Vincent's disease, or
even pyorrhea. And it sometimes endang-
ers apparently sound teeth.
The answer? Daily massage of the gums.
But even more effective, daily massage
of the gums with Ipana Tooth Paste.
Clean your teeth with Ipana. Then
put a little bit more on your brush or
fingertip and rub it into your gums.
Leave the Ipana there. It contains zira-
tol, and the ziratol will get results
better if left on the gums.
Don't Take Chances
Tooth paste is not costly! Skimping on your
tooth paste is decidedly poor economy. For a
good dentist and a good dentifrice are the
most economical things on earth !
You'll like Ipana, first of all, because
it is a splendid tooth paste. It cleans the
teeth thoroughly without any possibility
of the enamel's becoming marred.
Your teeth begin to look whitei
almost at once. And it won't be a
month before you'll be able to see i
decided improvement in your gums
Keep on using Ipana with massage —
. . IPANA
and they'll be so firm that you won't
1 i . L -..VU
-u »
Photoplay Magazine for January, 1932
OIL
don't have to shop iar plctwieA.
"HUSBAND'S HOLIDAY"
with CLIVE BROOK
Charlie Ruggles, Vivienne Osborne, Juliette
Compton, Harry Bannister
'WORKING GIRLS
//
with PAUL LUKAS
Judith Wood, Charles "Buddy" Rogers,
Dorothy Hall and Stuart Erwin.
Directed by Dorothy Arzner
PARAMOUNT
l± uowi bull wtrrcL
0
u w&rt
You want to eee the stars everyone's talking about . . . they're Para-
mount stars! You want to see the greatest Broadway stage hits, the most
popular novels and magazine stories . . . Paramount has them! Para'
mount is your "buy" word because Paramount gives you what you want,
SUPREME ENTERTAINMENT— always good, often great, never a
doubt that "If it's a Paramount Picture it's the best show in town!"
(j^arammmt j^g Cpidum.
PARAMOUNT PUBLIX CORP., ADOLPH ZUKOR. PRES.. PARAMOUNT BLOC., N. Y.
II
SOOKY
II
With Jackie Cooper and Robert Coogan.
Directed by Norman Taurog.
Same cast and director as "Skippy"
"THE FALSE MADONNA'
With Kay Francis and William Boyd.
Directed by Stuart Walker
OTO
The World's Leading Motion Picture Publication
Vol. XLI No. 2
JAMES R. QUIRK, Editor and Publisher
January, 1932
I
Winners of Photoplay
Magazine Gold Medal for
the best picture of the year
1920 1921 1922
"HUMOR- "TOL'ABLE "ROBIN
ESQUE" DAVID" HOOD"
1923 1924 1921?
"The "ABRAHAM "THE BIG
COVERED LINCOLN" PARADE"
WAGON"
1926 1927 1928
"BEAU "7th "FOUR
GESTE" HEAVEN" SONS"
1929 1930
"DISRAELI" "ALL QUIET ON THE
WESTERN FRONT"
Information and
Service
Brickbats and Bouquets .... 8
Hollywood Menus 17
Friendly Advice on Girls'
Problems 70
Questions and Answers .... 82
Addresses of the Stars 109
Screen Memories from Photoplay . Ill
Casts of Current Photoplays . 1 1G
High-Lights of This Issue
Close- Ups and Long-Shots James R. Quirk 25
Hollywood's Cruelty to Greta Garbo .... Ruth Biery 28
"Five Star Final" Premiere. 30
It's A Long Way to Tipperary! Leonard Hall 34
Cal York's Monthly Broadcast from Hollywood 36
Auntie Wanted 'Em Bad . . . . . . Jack Jamison 50
Chanel Styles in Gloria's Picture 52
The Unknown Hollywood I Know .... Kathehine Albert 56
"Dr. Jekyll and Mr. Hyde" 58
Seymour — Photoplay's Style Authority 61
Our Guest Page Roland Young 65
Winners of $5,000 Contest 66
Look in the Mirror! How Do You Rate Yourself? Carolyn Van Wyck 70
Hollyhoo , . 73
Photoplay's Famous Reviews
Brief Reviews of Current Pictures 6
The Shadow Stage 46
Short Subjects of the Month 101
Personalities
Well, That's Settled 27
Queen Marie of Hollywood Josephine Jarvis 32
Ach ! That Pola ! Sara Hamilton 40
"Charlie MacArthur's Wife" Katherine Albert 45
Man About Town S. R. Mook 54
We Should Have Known Sara Hamilton 60
"I'm Not So Sure," Says Clark Gable .... Ruth Biery 68
'Til Have Vanilla" Harry Lang 72
That Stuff Is Out Francis Denton 77
Marlene Dietrich and Maurice Chevalier 78
Published monthly by the Photoplay Publishing Co.
Editorial Offices. 221 W. 57th St., New York City Publishing Office, 919 N. Michigan Ave., Chicago, 111.
The International News Company. Ltd., Distributing Agents, 5 Bream's Building, London, England
James R. Quirk, President Robert M. Eastman, Vice-President Kathryn Dougherty, Secretary and Treasurer
Yearly Subscription: $2.50 in the United States, its dependencies. Mexico and Cuba; S3.50 Canada; S3.50 for foreign countries. Remittances
should he made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.
Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879.
Copyright, 1931, by the Photoplay Publishing Company, Chicago
AFFAIRS OF ANNABELLE, THE— Fox —
JeanettC MacDonald and Victor McLaglen in a laugh-
worthy farce. (July)
AGE FOR LOVE, THE— Caddo.— Billie Dove is
good but the old familiar story doesn't click. (Oct.)
• ALEXANDER HAMILTON — Warners.—
George Arliss, need we say more? Another
superb characterization of an historic figure. {Aug.)
ALIAS THE BAD MAN— Tiffany Prod— Vou
probably won't like this even if you're a Western fan.
Ken Maynard is okay — but you simply don't believe
that story. (Sept.)
ALWAYS GOODBYE— Fox.— Elissa Landi gives
a charming performance in a rather ordinary piece.
Lewis Stone and Paul Cavanagh support her. See la
Landi. (July)
AMBASSADOR BILL— Fox.— Will Rogers, a
mythical kingdom and a lot of laughs. (Dec.)
• AMERICAN TRAGEDY. AN— Paramount-
Dreiser's great tragedy becomes one of the
month's best pictures. Phillips Holmes and Sylvia
Sidney head a glorious cast. Not for the children.
(Aug.)
• ARE THESE OUR CHILDREN?— Radio
Pictures. — Inside, and pretty serious stuff on
what goes on in some high schools. Neither parents
nor children should miss it. (Dec.)
ARIZONA — Columbia.— (Reviewed under title
"Men Are Like That"). Laura La Plante and John
Wayne find life and love at an army post. (Oct.)
• BAD COMPANY— RKO-Pathe.— A gang
picture that's different, with Helen Twelve-
trees and Ricardo Cortez doing some fine acting.
(Nov.)
• BAD GIRL— Fox.— You'll laugh and cry over
this, made from the novel of the same name.
Sally Eilers is all the girls who live next door.
That new kid, James Dunn, bears watching. Don't
miss this one. (Sept.)
BELOVED BACHELOR, THE— Paramount-
Complications between a sculptor, his ward and his
sweetheart. Paul Lukas and Dorothy Jordan are the
heartthrobs — Charlie Ruggles screamingly funnv.
(Dec.)
BLACK CAMEL, THE— Fox.— Here's your old
pal Charlie Chan (sure, it's only Warner Oland) un-
raveling the mystery of a movie star's murder in
Honolulu. Great stuff for the mystery-minded and
other folks, too. (Sept.)
• BLONDE CRAZY— Warners.— Reviewed un-
der the title "Larceny Lane." James Cagney
and Joan Blondell in another "crook picture" that's
top-notch entertainment. (Oct.)
• BOUGHT — Warners. — Connie Bennett and
her father, Richard, rip off a real picture.
Elegant acting, clothes you'll be ca-razy for, and a
vivid, human story. Ben Lyon does the best work
of his career. (Sept.)
BRANDED — Columbia. — Good scenery, good
riding, good ol" Buck Jones. But let's have less talk
and more action in Westerns. (Oct.)
BRAT, THE— Fox.— Remember Sally O'Neil?
What a comeback the kid stages in this old Maude
Fulton comedy-drama. And what a rough and
tumble fight she and Virginia Cherrill have! (Sept.)
• BUSINESS AND PLEASURE— Fox.— Will
Rogers is a riot. (Oct.)
CAPTAIN THUNDER— Warners.— A dull story
about a Robin-Hoodish captain whose lawless deeds
are all for a good end. Victor Varconi and Fay Wray.
[July)
CAPTIVATION — Capital Prod. — Ho-hum, a
wife-in-name-only situation, a stouter Conway Tearle
and a leading woman who almost out-Dietrichs
Garbo. Made in England. (Dec.)
CAUGHT— Paramount.— The plot is pretty silly.
Boy (Dick Arlen) finds mother (Louise Dresser) is
outlaw he was sent out to get — but Louise is worth
the admission. (Sept.)
CAUGHT PLASTERED— Kadio Pictures.— (Re-
viewed under the title "Full of Notions.")— If you
like Wheeler and Woolsey, don't let this get by you,
for it's one of their best comedies to date. (Sept.)
• CHAMP, THE — M-G-M. — You'll laugh,
you'll cry, you'll thrill at this superb picture
with those two great artists, Jackie Cooper and
Wallace Beery. Don't miss this one. (Dec.)
CHANCES— First National.— Young Doug's first
starring picture is a war thriller. The lad is good
but the story is so-so. (July)
iJrief Ixeviews of
Current Pictures
•jt Indicates photoplay was named as one of the best upon its month of review
• CISCO KID, THE— Fox— Warner Baxter
makes the girls' hearts beat double time in this
thriller. The plot isn't new but the treatment is. (Nov.)
COMMON LAW, THE— RKO-Pathe.— A poor
adaptation of an old favorite but Constance Bennett
is worth seeing. Sophisticated fare. (Aug.)
COMPROMISED — First National.— ( Reviewed
under the title "We Three".) Just uh-huh on this
one. It neither bores nor thrills. About a million-
aire. (Nov.)
CONFESSIONS OF A CO-ED— Paramount —
Not a very convincing piece with Sylvia Sidney,
Phillips Holmes and Norman Foster. College
atmosphere. (Aug.)
Spring r ashion
Preview !
Lights sputter, the camera
grinds, a star walks across the
stage in a new gown — and that
is how Spring fashions make
their first bow from the screen.
What's new for Spring 1932?
Is the silhouette straighter?
Shall you tilt your hat?
Let Seymour answer these
questions for you in the Feb-
ruary Photoplay. Don't miss
his section of smart new screen
clothes — you will be copying
them for Spring.
• CONSOLATION MARRIAGE— Radio Pic-
tures.— Don't miss this truly sophisticated 1931
movie, with Irene Dunne and Pat "Front Page"
O'Brien. (Nov.)
CONVICTED — Supreme Features. — A murder
mystery at sea and a good one, with Aileen Pringle
and Harry Myers. (Dec.)
• CUBAN LOVE SONG, THE— M-G-M.—
Lawrence Tibbett's voice. Lupe Velez' love-
making and Jimmy Durante's darn foolishness in a
lusty story of marines in Cuba. Great stuff. (Dec.)
• DADDY LONG LEGS— Fox.— The beloved
classic with Janet Gaynor in a r61e just suited
to her but just a little too saccharine. Warner Baxter
as the bachelor. Take the family. (July)
DANGEROUS AFFAIR, A— Columbia— A fast-
moving and surprise-filled "shrieker" with Jack Holt
and Ralph Graves. (Nov.)
DAUGHTER OF THE DRAGON— Paramount.
— Sessue Hayakawa and Anna May Wong in an
Oriental mystery. Recommended if you like your
murders sinister. (Oct.)
DER GROSSE TENOR— UFA.— A slow moving.
all-German talkie with Emil Jannings in a typical
Jannings role. A song or two. (Aug.)
• DEVOTION— RKO-Pathe.— Perfect cast, ex-
cellent direction and sparkling dialogue make
this moth-eaten plot a picture you must not miss.
Ann Harding. (Nov.)
DREYFUS CASE, THE— Columbia.— An accu-
rate account of the famous Dreyfus-Emile Zola
rumpus, made in England with a fine British cast.
(Nov.)
EAST OF BORNEO— Universal.— The title tells
the story. Real Borneo scenery, excellent studio
"fakes." Charles Bickford and Rose Hobart make
it interesting enough. (Sept.)
ENEMIES OF THE LAW— Regal Prod.— Unless
you want to see Lou Tellegen's brand new face-lift,
you can check this off your list. Not even Mary
Nolan's beauty compensates for that old formula
877 — a gangster story. (Sept.)
EVERYTHING'S ROSIE— Radio Pictures.— One
of the talkiest talkies yet released. (July)
EX-BAD BOY— Universal.— If you like gag-
farce, you'll get a kick out of this. Robert Armstrong
and Jean Arthur give fine comedy acting. (Aug.)
EXPENSIVE WOMEN— Warners.— A pretty un-
happy return to the screen for Dolores Costello. The
less said about it the better. (Aug.)
EXPRESS 13— UFA.— A thrilling German-
dialogue film that makes you wish you'd paid more
attention to your German teacher. (Oct.)
FANNY FOLEY HERSELF— Radio Pictures-
Edna May Oliver's first starring film. You'll laugh
and — what's more — vou'll cry. In Technicolor. See
it. (Oct.)
FIFTY FATHOMS DEEP — Columbia— Why
waste Jack Holt and Dick Cromwell on that same old
plot? Oh sure, they are deep sea divers in love with
one girl. (Nov.)
FIGHTING SHERIFF, THE — Columbia. —
Recommended for dyed-in-the-wool Western fans.
Others will find it just average film fare. Buck
Jones is the hero. (Sept.)
FIRST AID— Sono Art.— In which a lot of people
— Grant Withers, Marjorie Beebe and Wheeler Oak-
man — do a lot of unconvincing things unconvinc-
ingly. (Sept.)
FIVE AND TEN— M-G-M.— Marion Davies
with a splendid cast. Adapted from the Fannie
Hurst story— jerky in spots. (Aug.)
• FIVE STAR FINAL— First National.— Rush
to the nearest theater. You mustn't miss
this exciting story of tabloid newspaper sensa-
tionalism. Eddie Robinson is superb. (Sept.)
FLOOD, THE — Columbia. — A weak, poorly
directed story which the good acting of Eleanor
Boardman and Monte Blue cannot save. (July)
[ PLEASE TURN TO PAGE 14 ]
Photoplay Magazine for January, 1932
7
Ask the manager of your favorite theatre
when they're playing DELICIOUS. And keep
an eye out for other superb attractions soon
to come: Elissa Land/ and Lionel Barrymore in
THE YELLOW TICKET, Will Rogers in
AMBASSADOR BILL, James Dunn, So//y Eilers
and Mae Marsh in OVER THE HILL.
JANtTGAYNOfe
CHAMBJMRQL
in
It's well-named. ..this most entrancing of
Gaynor-Farrell romances. Here Janet is
a Scotch lass. ..very close to your heart. A
handsome American (Charlie Farrell to you)
falls madly in love with her, a romantic
Russian adores her, a Swede befriends her
and a burly Irish detective pursues her!
You've never seen such a comedy of
errors, so gay a tangle of laughter and
romance. A love story deliriously different!
Six sparkling musical
hits by world-renowned
George Gershwin, com-
poser of "Rhapsody in
Blue, "are woven into the
story. You'll enjoy Gersh-
win's new and brilliant
"Second Rhapsody."
The A
di
uaience
S
p
eaus
k
u
p
With Brickbats and Bou-
quets Photoplay Readers
Voice Their Opinions of
Pictures and Personalities
When the audience speaks the stars and producers
listen. We offer three prizes for the best letters of the
month— $25, $10 and $5. Literary ability doesn't
count. But candid opinions and constructive sugges-
tions do. Write up to 200 words, no more. We must
reserve the right to cut letters to suit space limitations,
and no letters can be returned. Address The Editor,
PHOTOPLAY, 221 West 57th Street, New York City.
THE $25 LETTER
A few months ago my sister came over from
Norway. She had not the slightest knowledge
of English and therefore I hit upon the idea
of taking her regularly three times a week to
the movies.
It was surprising to see the work of talking
pictures as an English teacher to a foreigner.
At the same time they were entertaining. By
seeing the actions of the players and hearing
them speak at the same time, my sister picked
up the language very quickly.
Both she and I are grateful for the invention
of talking pictures and I hope others will
experiment in the same way.
Magdalena Hansen, New York City
THE $10 LETTER
The movies have a wonderful message of
encouragement for middle-aged people in the
accomplishments of Marie Dressier, George
Arliss, Lionel Barrymore, and many other not-
young actors and actresses.
When you see them on the screen, being their
age and making that age vital, interesting,
enviable and powerful, you know that in real
life they are beloved, respected and popular.
Then you realize that real success is not
measured by years but by spirit.
Alice Cassidy, Oakland, Calif.
THE $5 LETTER
When one of the Duncan sisters, in "It's
a Great Life," catches a cold the other one
suggests raw, sliced onions sprinkled with
brown sugar as a cure and it worked wonders
not only for Vivian Duncan but for Frieda
Corman as well. For, ever since I saw this
picture, I've used the raw onion cure for colds
and it's always been successful.
Frieda Corman, Toledo, Ohio
JUST A ROY
I'm just a boy but I know my actresses
and actors, also what pictures I like. What
we kids want is pictures like "Skippy," "Tom
Sawyer," and "Huckleberry Finn." My chum
and I go to the show every Saturday, and
gosh, we don't want to sit through an hour
and a half of love-making and such mush, we
want pictures with some pep and laughs in
them.
On Saturday we saw Stan Laurel and Oliver
Hardy in "Pardon Us" and it was great. I
like Marie Dressier (I go to see all her pic-
tures), Wallace Beery and, of course, big Gary
Cooper and Dick Barthelmess and I think
I'm going to like Clark Gable, but I don't like
(and with a big D) Nancy Carroll (she puts
on too much), Greta Garbo (she has no pep)
and Connie Bennett (she is too high-hat).
And please make them let Fatty Arbuckle
come back. I have read lots about him and I
8
know he must be good because my mother
and dad say he was a good comedian.
Frank Logan, Winnipeg, Canada
MEETING NICE PEOPLE
Where can I meet the sort of people who
know how to live warmly and beautifully?
Where can I mingle with people whose lives
consist of something more than eating, sleep-
ing and producing children? Where — but at
the movies? Here, for two hours, at any rate,
I live among a charming and delighted com-
pany. I chat with them, laugh with them
and dream with them. For two hours they
are close to me and I strain them to my
heart. Then, the final flash upon the screen,
the cruel lights, and they are gone, hopelessly
out of reach.
Mary Wallace, Jackson Heights,
Long Island, N. Y.
THAT FALL AND RISE!
I've seen "Susan Lenox," and never
have I seen Greta when she seemed more
human. She was adorable. If Clark Gable
THE postman got a crick in his back
from carrying in letters about
"Susan Lenox." Some folks liked the
girl who did all that rising and falling
and some didn't. Some were crazy
about Garbo, some about Gable and
some didn't like either. But there were
more who liked than didn't. Every-
body wrote about it and there wasn't
a lukewarm opinion in the bagful.
There was all praise — and no blame
— for Helen Hayes in "The Sin of
Madelon Claudet," and if you folks
mean what you say, that little lady is
the next big star, although there are
plenty of boosters for Madge Evans,
Joan Blondell, Jimmie Dunn and Mae
Clarke.
Crawford, Shearer, Garbo, Bankhead
and Dietrich still inspire the literary
Muse and, with tears in their letters,
Buddy Rogers' fans beg him to throw
away that saxophone, give up those
ideas of conducting a band and string
along with the Hollywood cameras.
"The Spirit of Notre Dame" caused a
lot of discussion — some were "fer" some
"agin." But there were a lot more
"fers," and everybody seemed to like
Ann Harding and smooth-voiced Leslie
Howard in "Devotion."
So that's how you felt this month.
What do you have to say next? Don't
mind the postman — he likes his job.
Sharpen up your pencils and your wits
and tell us how you feel about the
movies. This is your department.
has that effect on her, she should act with
him more often.
Helen Perry, Pasadena, Calif.
Impatiently waiting for the showing of
"Susan Lenox," I almost knocked the door
down getting in the minute of the first show-
ing. Imagine my bitter disappointment and
positive rage to find the heroine in the picture
a poverty stricken, low-bred, raw-boned Swed-
ish girl — when in the book she was described
as a dainty, lovely American girl of refinement.
Ora Widener, Jacksonville, Fla.
Greta Garbo thrilled me so in "Susan
Lenox" that I had to see the picture twice.
I am worried by rumors that she is going to
leave the screen. Oh, Greta, please stay and
make the world more beautiful.
Mrs. G. Fleming, Michigan City, Ind.
Miss Garbo's "Susan Lenox," in my opinion,
was badly directed and not nearly as fine a
picture as it should have been. Garbo re-
mains dumb throughout the first scenes.
Mr. Gable carried the play entirely here, but
his shoulders are broad and his talent true.
Stella D. Rothwell, Brookline, Mass.
I used to wonder why all this noise about
Greta Garbo. She didn't look so hot to me,
but I hadn't seen that masterpiece, "Susan
Lenox." What a perfectly gorgeous picture!
They tell me that Clark Gable was in it, too,
but I hardly saw him for looking at Garbo.
Grace Smith, Ellensburg, Wash.
In "Susan Lenox" the magnificent Greta
Garbo demonstrates once more that she is
the screen's finest actress. The combination
of Miss Garbo and Clark Gable is perfect.
Mrs. Josephine Stiebel, New York City
GOOD OLD "NOTRE DAME"
"The Spirit of Notre Dame" is everything
the publicity agents say it is. The football
scenes are authentic; the students act like
pleasant, ordinary young college men and not
like the silly fools some pictures make of
them; the scenes in the college dining hall are
just as they would take place; the college
dances are free from drunken couples.
"The Spirit of Notre Dame" bears the dis-
tinction of being the first college film that is
true to life.
Catherine E. Flinn, Dorchester, Mass.
The first football picture of the year, "The
Spirit of Notre Dame," was sure an upset to
me. Imagine boys of the build of Billy Bake-
well and Lew Ayres as backfield men in one
of the country's great football teams.
Of course, we all realize that light men are
no freaks in modern football, but this picture
carried it too far. Light football players are
usually well built.
Joseph Eigen, Los Angeles, Calif.
[ PLEASE TURN TO PAGE 10 ]
Photoplay Magazine for January, 1932
Pepsodent announces
a notable new discovery
An entirely new cleansing and polishing material has been developed by
Pepsodent Laboratories. It is twice as soft as polishing materials in common use.
Teeth are given higher polish, brighter luster — FILM stains disappear completely.
THE Pepsodent Laboratories
announce a new discovery. A
revolutionary discovery contained in
Pepsodent Toothpaste for more than
;ix months.
Your dentist will tell you Pepsodent's
jolicy has always been to improve con-
;tantly — "no fixed formula" to hamper
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:he first to adopt them.
Now once more Pepsodent advances,
rhis time through a notable new discov-
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I. The new cleansing and polishing
material in Pepsodent stands un-
surpassed in removing stained, de-
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;. The new texture is invisibly fine. As
a result it imparts a higher polish to
enamel — a brilliant glaze or luster.
). The new material is safe— this is
most important of all. Safe because
it's soft— yes, twice as soft— as pol-
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Having made this new discovery we
faced an equally great problem. How to
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out altering appearance or sacrificing
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Keeps teeth lovelier — safely
Pepsodent's new cleansing and polish-
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Newly discovered, it is different, totally
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These facts are interesting : this dis-
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The idea was simple: to combine
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Removing FILM is, and always will be,
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FILM is that slippery coating on your
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[ CONTIXfED FROM PACE 8 ]
BRAVO FOR HELEN
I never knew just why "Madame X" left
me rather unmoved in spite of Ruth Chatter-
ton's good work. Only after seeing the un-
forgettable, poignant and soul stirring per-
formance of Helen Hayes in "The Sin of
Madelon Claudet" did I realize what was
wrong with "Madame X." Contrast the final
scenes of both plays, and note the make-up
of the stars, to find the answer.
Louise Branx, New York City
HIS TURBAN'S IN THE RING
I have been watching with interest the
fight over Garbo supremacy from a dis-
tance of 12,000 miles. Why are the Amer-
icans gone head over heels on Garbo? Their
own actresses are not lacking in Garbo appeal.
For instance, Joan Crawford is a perfect
actress. She is divine. Give her a Garbo
story and I'm sure she will excel Garbo.
Kutxikar, Mysore, India
ROMANCE PREFERRED
Although even the foremost talkie theaters
in Manila are showing silent films, Filipinos
like the talkies. They like revues and musical
romances the best. They still prefer the
Valentino and Gilbert type of hero and they
like their love making spread on thick. The
outstanding favorites are Ramon Novarro,
Greta Garbo, Joan Crawford, the Farrell-
Gaynor team, Norma Shearer, John Gilbert
and Douglas Fairbanks.
Blas A. Alejaxdre, Manila, P. I.
The talkies are splendid but who wants true
How do you keep it on, Dorothy? Your
hat, of course, Miss Jordan ! It is a
very pert piece of millinery but you
shouldn't trust it in a strong wind.
Seymour thinks it's great —he likes
its rakish tilt, and the smart combina-
tion of felt and chenille. That feather
pom-pon is good for these new half-
and-half turbans
10
Underwood & Underw
These children cost their father $7,185 last year for food, lodging, clothes
and amusements. But daddy can afford it. In fact, he provides $6,000 a
year for each. The rest is put in savings accounts. Who's the papa?
Why, Charlie Chaplin. Don't you think the boys — Charlie, Jr., and
Sidney — look like him?
to life stories? Such pictures as "Cimarron."
"The Last Flight," "The Spider," "Daughter
of the Dragon" and the Charlie Chan pictures
mean romance and adventure in our everyday
monotonous lives.
Elizabeth Webb, Regina, Canada
HOMESICK BLUES
It's a Molly Gump day and your daughter's
birthday to boot and you're far from those
who care and you feel that life is a bitter pill
that you can't swallow. And then you see a
movie advertised and for three lire you may go
in and feel that you're across the pond in good
old Richmond. The movies help homesickness.
Mrs. Carroll T. Scott, Rome, Italy
WE HAVE CENSORS, TOO
The news in the London press of the banning
in this country, by our grandmotherly censors,
of "An American Tragedy" has led me to
write and ask what on earth you people who
are (to use one of your own expressions)
'"cinema conscious" must think of us over
here?
Far be it from me to decry Great Bri
in any shape or form. It's a great old cou
but really, when it comes to the cinema
are still back in pre-war days both as reg
our mentality and our views on produci
J. X. Eisexecger, London, Engla
ENGLISH SUPREMACY
After seeing Leslie Howard with'Ann Har
in "Devotion," I am eager to see more p
with English actors in the cast. Alter
those English actors have a way with t
and they do not have to be either youn
handsome to hold their audiences.
Irene Kirkbride, Cleveland, Oh
HOW ABOIT IT. CANADA?
I spent a belated vacation in Canada
fall. In Toronto I saw two pictures— "Mor
Business" and "The Unholy Garden" — at
of the leading downtown theaters. In
theater, the screen was fairly good but
sound apparatus was ghastly. I could ha
understand the voices. In the other the.
both projection and sound were only fair
WithBrickbats&Bouquets
y*^;ST
1
This is a neat trick if you can do it. If you miss that other stirrup your
head hits the ground and the orchestra plays "Hearts and Flowers."
Ride 'em cowboy Ken Maynard just loves this sort of thing and doesn't
enjoy his morning's oatmeal unless he does a few stunts like this before
breakfast. "Oh yeah?" says Mrs. Maynard, with an Edna May Oliver sniff
In Montreal I had seen all the pictures
playing at the larger houses, but went to two
smaller ones in the downtown section. "Trans-
atlantic," the photography of which was lauded
by critics, was a foggy maze, out of which the
voices emerged like foghorns. "The Magnif-
icent Lie" looked as though it had suffered
from smallpox. And Ruth Chatterton's
glorious speaking voice sounded more like
Marjorie White's (all right for Marjorie, but
not for Ruth!). If some of the Canadians
don't like talkies, I can now understand why.
Somebody ought to sell them up-to-date pro-
jection and sound apparatus.
Alice Francis, Brooklyn, N. Y.
THAT PRIVATE LIFE
To the stars who are willing that one should
take a peek at the interiors of their homes and
at their wardrobes, and who tell us about the
expected arrival of the new baby, we should
express some appreciation. It is not entirely
through curiosity, as some would have it, but
through admiration and interest that we like
to know more about them.
Mrs. E. T. Stevens, Eureka, Calif.
BRING BRIAN BACK
Mary Brian is one of the most beautiful
and talented actresses in Hollywood. It's
true she isn't gay like Shearer or glamorous
like Garbo or sophisticated like Connie Ben-
nett, but she has something that none of these
actresses has — that sweet, winning, winsome
personality that everyone adores. In the bank
where I work we took a vote and Mary Brian
was the favorite.
Myrtle Stewart, Troy, N. Y.
SEELN'S BELIEVIN'
If someone tells me of my faults, I am apt
to become irritated, but I can see them on
the screen and immediately decide to mend
my ways.
Elizabeth Paulson, Longview, Wash.
ANY OLD SITUATION!
I have a daughter eighteen who is just now
trying to acquire mannerisms fitting a sophisti-
cated young woman of today.
She cannot be persuaded to miss any of
either Connie Bennett's or Ann Harding's
pictures and, believe me, she is beginning to
be most satisfactorily proper. I think that
this is one of the most important advantages
of pictures, they teach a person how to handle
many situations.
Mrs. J. Reginald Lynch, Flint, Mich.
OLD AS YOU FEEL, MARY
We want Mary Pickford more often, but
we don't want her to spoil herself in such
pictures as "Kiki." There are plenty of ham
actors for parts like that. Mary, give us
something like "Tess of the Storm Country."
You're not too old for little girl parts, you just
think you are.
Mrs. John Ordway, Findlay, Ohio
DON'T TOOT THAT HORN
Clean cut and handsome and a capable
actor, perfect to typify the American youth,
Buddy Rogers' place should be first among the
young male stars. I hope he will continue
with his acting and not turn to music. We
have many good musicians but few actors as
good as he.
George Christie, Berkeley, Calif.
BARBARA'S REAL
One becomes weary of looking at beautiful
wax figures and that's what these beautiful
stars remind me of, with their same sleek
hairdress, same languid and bored air, and
same pose in holding a cigarette, with hand
on hip.
Now look at Barbara Stanwyck. Strictly
speaking, Barbara is not beautiful, but, I'll
take her any time.
Bessie Krazok, Philadelphia, Penna.
[ please turn to page 12 ]
International
Once they were happy — just like this !
Now Helene Costello has walked out
on hubby Lowell Sherman and then-
lawyers are having a big pow-wow.
They say the trouble was that Lowell
didn't like Helene's brother-in-law,
Jack Barrymore. Yes, friends, "in-
law" worries pester even in Hollywood
11
The Audience Speaks Up
PAGING LEW AND JOEL
To say that the "fcmmes" are going wild
over this so-called handsome, fascinating
Gable boy may be true, but why not give Lew
Ayres and Joel McCrea a chance to win some
hearts? Most girls of today, in my opinion,
do not care for this harsh, hold type of Gable,
so let's see more of Lew and Joel.
MARGE BlCKXEY, Sandusky, Ohio
CHEERIO, OLD BEAN!
In a story about David Manners in the
October PHOTOPLAY, the author marveled
over the fact that Manners, although he had
been educated in staid British institutions,
was really as American as a silver dollar and
not a broad "A" in a carload. There is no
mystery about that. Manners was born in
Canada and educated in a well-known Cana-
dian university where we don't go around
sipping tea' and uttering "jolly good" and
"simply ripping," and when we answer the
telephone we don't say "Are you theah?"
Cory Kilvert, Winnipeg, Man., Canada
BOUQUETS FOR BILLY
William Haines is one of the best actors
who was ever on the screen or ever will be.
He is both talented and handsome. In "Get-
Rich-Quick Wallingford" he was perfect.
Mrs. Grace Longo, New York City
A LIQUOR CURE
Pictures of young kids going on wild parties
are thought to be bad for youngsters to see,
but my sisters agree with me when I say that
the more I see of that kind of life, the more dis-
gusted I become with it, and the more I see
of the crazy things they do when under the in-
fluence, the less I care to get drunk.
Those pictures haven't ruined me.
M. H. Long, San Mateo, Calif.
AMERICAN GIRLS
In traveling, I found the Europeans have a
most unflattering opinion of American girls,
which is based on the films they see. I began
fancying myself a foreigner looking at Amer-
ican pictures and was amazed to find so many
jazzy, whoopee girl pictures. When I saw
Douglas Fairbanks' picture "Reaching for the
Moon," I couldn't enjoy it because I know how
popular he is in Europe and how many eyes
would see again a disgusting spectacle of
American girlhood as portrayed in that film.
Mrs. H. A. Laidlaw, San Francisco, Calif.
WHAT DO YOU THINK?
From the vantage point of three years as an
usher and four years as a cashier at a movie
theater, during which time I've talked to hun-
dreds of fans, I make these comments:
Greta Garbo has reached the crest of her
popularity.
The newsreel could be made much more ap-
pealing to women.
The Cinderella motive could be used more
than it is at present. Witness the success of
" Daddy Long Legs."
The older folks do not care for vaudeville.
The average fan has long ago forgotten about
Arbuckle's case and will welcome him back if
lie delivers the goods.
Clara How will have a difficult time making
good with many people, when she returns.
Sentiment is due for a return engagement.
Isauell Verbella, Detroit, Mich.
12
[ CONTINUED FROM PAGE 11 ]
OH, COME NOW!
Clark Gable is perfect, except for his un-
plucked eyebrows. Pluck them, Clark. We'll
lie watching for you to do it.
Helen Besse, Rayne, La.
This gown is lovely enough to be a
wedding dress but it is just a gorgeous
hostess gown that Juliette Compton
wears in "Husband's Holiday." At
the moment we don't know whether
this is why husbands take holidays —
or why they shouldn't ! Seymour says
jeweled embroidery is adding glamour
to the best costumes these days. It
certainly is doing its best for this blue
crepe gown. Necklines are squaring
off smartly, too, it seems
COMPARISON
To all belittlers of the movies who claim that
the film industry is still in its infancy, I recom-
mend the entertaining Paramount "Screen
Souvenirs." These two-reelers show the evolu-
tion of the movies from the days of the nickel-
odeons to the present time. We laugh at the
overly melodramatic antics of Mary Pickford,
Norma Talmadge, Lillian Gish, Theda Bara,
Louise Glaum and Mae Murray. We wonder
how we could ever have considered these ab-
surd melodramas with even a modicum of
seriousness. Yes, we have developed mentally
along with the motion pictures, and the motion
picture has been instrumental in our mental
development.
L. E. Mexdlowitz, Pittsburgh, Penna.
MIRIAM'S SECOND BEST
Three years ago Greta Garbo sat on the
top-most rung of my Hollywood ladder. The
next fifty rungs below her were empty. Today
Garbo is still firmly on top, but not far from
the top is that charming girl who bowled me
over by stealing "The Smiling Lieutenant"
and "Twenty-four Hours." The name is
Miriam Hopkins and I consider her the great
"discovery" in a year full of discoveries.
(Yes, I've seen Marlene and Tallulah.)
Robert R. Sandell, Syracuse, N. Y.
BALLYHOO!
If less pictures were advertised in billboards,
newspapers, etc., as " the greatest picture ever
made," more of us movie-goers would attend
these pictures. Perhaps we picture audiences
are not the most intelligent in the world, but
we are not altogether stupid. Just a wee touch
of subtlety and a slight pressure on the soft
pedal might well work wonders in heralding
a new picture.
At least such an experiment is worth the
trial, as it's never been done.
Richard Gersok, Hollywood, Calif.
NO MORE BUNK
PnoTOPL.w was the first magazine to take
the slush out of the movie stars, but there is
still room for improvement. A few years ago
all actors and actresses were Broadway stars
and spent all their time entertaining little
orphans or reading the classics. Photoplay
started telling the truth.
In the old Triangle days, I saw many of
Douglas Fairbanks' pictures twice. Today
I refuse to see any — too much Pickfair, enter-
taining royalty, etc. Many fine actors have
not been afraid of wearing old clothes or get-
ting their faces dirty in a picture, but young
Fairbanks and Xovarro think they must wear
fine officers' uniforms before they can act.
More naturalness is what we want.
Man Reed, St. Louis, Mo.
EDUCATED POWDER PUFFS
I thought I knew something about facial
make-up until I viewed a short talkie in color,
showing how the movie stars do it. The next
day I followed their directions, even to the
little touch of rouge that was cleverly moulded
into the center of the chin. The delicate and
natural complexion resulting from the methods
shown were amazing. Needless to say, from
now on I make up the movie way. Just think —
one short reel to me means a life time of correct
and pleasing make-up.
Jean McMichael, Toronto, Canada
Photoplay Magazine for January, 1932
What Can You Buy
for
ONE
DOLLAR
■
THAT WILL GIVE YOUR BEST FRIEND
HER BIGGEST CHRISTMAS THRILL?
SOME handkerchiefs?
(But handkerchiefs are commonplace.)
But if you spend your dollar on a jive
months'1 subscription to Photoplay
It will mean that your best friend will
get a fresh thrill on five different occasions,
out of your Christmas gift.
Shell be getting facts and fiction, for her
brain —
And beauty hints and clothes sugges-
tions that will make her lovelier of face, and
smarter of dress.
She'll be getting the newest star pictures
for her room and her album.
And she'll be learning to spend her en-
tertainment money wisely — for Photo-
Subscription Rates
play's Guide to Motion Pictures will tell
her which ones are worth seeing, and which
aren't!
She'll be getting the latest news, too, on
film manners and matters . . .
Incidentally — you won't have to crash
the gate at a dosen bargain counters to buy
this present. All you'll have to do is to
attach your dollar to the coupon at the
bottom of the page. And your friend will
receive a charming card, telling her of your
thoughtfulness.
What can you buy for One Dollar —
that's good enough for your best friend?
Don't be silly!
Photoplay — of course — for five months.
WHAT A GIFT!
CHRISTMAS SUBSCRIPTION COUPON
Send
$1.00 for five months
2.50 for one year
4.00 for two years
4.00 for two one-year
subscriptions
Send $2.00 for each extra one-year
gift subscription.
For foreign and Canada add one dol-
lar to above for each yearly subscrip-
tion; add fifty cents for each 6 months'
subscription.
PHOTOPLAY MAGAZINE,
919 N. Michigan Ave., Chicago, 111.
I want to take advantage of your offer and enclose $ to pay for
to Photoplay.
(Lenctii of eubacriptic
Friend's Name
Address .
City .
*rtl_.
My Name
Address
City
Use regular stationery to list additional subscriptions.
. State .
.State.
1-32
Brief Reviews of Current Pictures
[ CONTINUED FROM PACE 6
• FORBIDDEN ADVENTURE— (Also re-
leased as Newly Rich) — Paramount. — An
i ntertaining picture for kids and grown-ups. Jackie
Searl and Mitzi Green in some swell acting. Don't
miss it. (Aug.)
• FREE SOUL, A— M-G-M.— Norma Shearer
and Lionel Barrymore in a picture that will
hold you. but in plot and treatment it's for grown-ups
only. (July)
FRIENDS AND LOVERS— Radio Pictures.—
Adolphe Menjou, Eric Von Stroheim and Lily
Damita get tangled up in an involved yarn that tries
to be too sophisticated. (Oct.)
GAY DIPLOMAT, THE— Radio Pictures.— Ivan
Lebcdeff intrigues the ladies (Betty Compson and
Genevieve Tobin) in this story of Balkan intrigue.
(Oct.)
• GIRL HABIT, THE— Paramount.— An up-
roarious farce that boosts Charles Ruggles to
stardom. It's all laughs. See itl (Aug.)
• GIRLS ABOUT TOWN— Paramount.— The
old gold digger story all dressed up in new
clothes. Kay Francis and Lilyan Tashman wear the
clothes and speak those smart lines. (Dec.)
GOLD DUST GERTIE— Warners.— Exuberant
Winnie Lightner gambols through a poor story. (July)
GOLDIE — Fox. — If you like lusty, gusty stuff,
this'll do. Spencer Tracy and Warren Hymer make
a new comedy team. (Aug.)
GOOD BAD GIRL, THE— Columbia.— The old
plot of the girl who leaves the racket to marry and go
straight. (July)
GRAFT — Universal. — A fast action thriller. Regis
Toomey is a dumbbell reporter and Sue Carol is
heart interest. (Oct.)
GREAT LOVER, THE — M-G-M. — Adolphe
Menjou breaks hearts. Irene Dunne breaks into
song. Both do good jobs. (Sept.)
GRIEF STREET— Chesterfield.— A wobbly mys-
tery story with pretty Barbara Kent and John
Holland. Save your time. (Dec.)
• GUARDSMAN, THE — M-G-M. — Alfred
Lunt and Lynn Fontanne. You'll be ca-razy
about them in this sophisticated comedy. See it,
but don't take the kids. (Oct.)
GUILTY HANDS— M-G-M.— That Lionel Barry-
more — how he can actl You know he is the murderer,
but will they discover his guilt? You'd better find
out. (Sept.)
HARD HOMBRE, THE— Allied.— For kids and
grown-ups. A novel Western with Hoot Gibson and
Lina Basquette. (Oct.)
HEARTBREAK— Fox.— This has a war back-
ground but it's really a sweet love story. Madge
Evans (what an actress!) takes honors from Charlie
Farrell, a good actor, too. (Dec.)
HEAVEN ON EARTH— Universal.— Recom-
mended only for Lew Ayres fans. (Xov.)
HIGH STAKES— Radio Pictures.— Lowell Sher-
man as an amateur detective is the main reason for
si 'ring this. Mae Murray is the woman in the case.
(July)
HOLY TERROR, A— Fox.— A two-fisted West-
ern with George O'Brien. Good, wholesome enter-
tainment. (Aug.)
HOMICIDE SQUAD —
another gangster picture.
Universal. — Ho-hum,
(Not.)
HONEYMOON LANE— Sono Art.— Not a great
picture, but a delightful one. A nice romam
tween Eddie Dowling (who sings) and June Collyer,
And that swell comic, Ray Dooley. (Sept.)
HONOR OF THE FAMILY— First National.—
Nothing left of the Balzac story but the title. Bebe
Daniels is a hot-cha-cha adventuress heroine.
• HUCKLEBERRY FINN — Paramount. —
This sequel to "Tom Sawyer" will cure the
blues. Jackie Coogan and Junior Durkin take you
back to old swimmin' hole days. (Oct.)
HURRICANE HORSEMEN, THE— Willis Kent
Prod. — A fast moving thriller, with plenty of Spanish
atmosphere. Lane Chandler has the stuff. (Dec.)
HUSH MONEY— Fox.— Another gangster film
and not a very thrilling one. Joan Bennett and
Hardie Albright try hard. (Aug.)
I LIKE YOUR NERVE — First National —
Douglas Fairbanks. Jr., acts just like his father did
in "The Americano." He does it well, too. The
story is weak. (Sept.)
IMMORTAL VAGABOND, THE— UFA.— A
tedious Tyrolean story without a single yodel. Nice
scenery, good acting, English dialogue. (Oct.)
IN LINE OF DUTY— Monogram Prod.— The
Northwest Mounted Police get their man again. This
time it's Noah Beery. Sue Carol is the girl. (Dec.)
I TAKE THIS WOMAN— Paramount— A
wheezy old plot dressed up for Gary Cooper and
Carole Lombard. Just another movie. (^1 ug.)
JUST A GIGOLO— M-G-M.— William Haines in
a spicy, amusing offering. But leave the children at
home. (July)
KICK IN — Paramount. — They tried hard to make
Clara Bow dramatic, sympathetic and emotional in
this one. Regis Toomey is great. (July)
LASCA OF THE RIO GRANDE— Universal.—
Just another Western — but this one is South of the
Rio Grande. Fair entertainment with Johnny Mack
Brown, Leo Carillo and Dorothy Burgess. (Sept.)
LAST FLIGHT, THE— First National.— Gay
aviators in Paris make the first half grand, but the
somber part is not so good. Richard Barthelmess'
work is overshadowed by the others in the cast. (Oct.)
LAUGHING SINNERS— M-G-M— Not sn good,
but if you are a Joan Crawford fan you may like it.
Clark Gable and Neil Hamilton, too. (Aug.)
LAWLESS WOMAN, THE— Chesterfield Pic-
tures.— An uninteresting, unimportant film. A
gangster-newspaper plot, poorly done. (.4i<s.)
• LAWYER'S SECRET. THE— Paramount.—
Clive Brook. Charles Rogers, Richard Arlen,
Fay Wray and Jean Arthur give fine performances.
Intense drama. (July)
LEFTOVER LADIES— Tiffany Prod.— Divorcees
talk a lot about careers and freedom in dreary
dialogue. Claudia Dell, in a brunette wig. is good.
(Dec.)
*LE MILLION— Tobis Production.— It's not
necessary to understand the language ■
all the fun out of this French musical farce. (Aug.)
• LOCAL BOY MAKES GOOD— Fir
tional. — Joe E. Brown is funnier than he's ever
In en, in this story of a college grind with inhibitions
and botanical aspirations. (Dec.)
LOVE STORM, THE— British International.—
Three men and one woman are exiled to a lighthouse.
Even a murder doesn't speed things up. Drear v fan .
(Dec.)
LOVER COME BACK— Columbia.— Betty Bron-
son changing her type with rather sorry results. (.4 ug.)
MAD GENIUS. THE— Warners.— Magnificently
produced and photographed, but John Barrymore's
artistry is so perfect in an unsympathetic r61e that the
story leaves a bad taste. (July)
MAD PARADE, THE— Liberty Productions —
The woman's side of the war done brilliantly by an
all-feminine cast. (July)
MAGNIFICENT LIE, THE— Paramount.— Not
up to the standard of most Ruth Chatterton films. But
there's a new young man named Ralph Bellamy
who is particularly good. (Sept.)
MAN IN POSSESSION, THE— M-G-M —
Robert Montgomery in a spicy comedy full of situa-
tions and sparkling lines. Amusing. (Aug.)
MEN ARE LIKE THAT— Columbia. — (Also
shown underthe title of "Arizona".) Laura La Plante
and John Wayne find life and love at an army
post. (Oct.)
MEN OF THE SKY— First National.— Yep, its
an aviation war story — but it's pretty flimsy stuff.
Irene Delroy and Jack Whiting. (Sept.)
• MERELY MARY ANN— Fox.— Take your
hankie to this one, but be sure to go. Not
since "7th Heaven" have Charlie Farrell and Janet
Gaynor been so whimsical and idyllic. (Sep:.)
MERRY WIVES OF VIENNA, THE— Super
Film. — Even if you no speak Deulsck, you'll enjoy
this. Rippling waltzes and sparkling gayety make
this foreign film worthwhile. (Sept.)
• MIRACLE WOMAN, THE— Columbia —
A well staged, directed, and photographed
picture with Barbara Stanwyck doing her best work
as a female evangelist. (Aug.)
MONKEY BUSINESS — Paramount. — Messrs.
Marx, Marx, Marx & Marx in another outbreak of
assorted lunacy. No beginning, no end — just gor-
geous nonsense. (Oct.)
MONSTERS OF THE DEEP— Nat. Spitzer
Prod. — Fishing adventures in Magdalena Bay. off the
Mexican coast, where mammoth fish abound. For
fish fans. (July)
Lplease turn to pace 15]
Photoplays Reviewed in the Shadow Stage This Issue
Save this magazine — refer to the criticisms before you pic\ out your evening's entertainment. Mai\e this your reference list.
Page
Around the World in Eighty Minutes —
United Artists 46
Arrowsmith — United Artists 47
Cheat, The — Paramount 49
Corsair — United Artists 49
Deadline, The — Columbia 94
False Madonna, The — Paramount 48
Flying High— M-G-M 48
Frankenstein— Universal 47
Freighters of Destiny— RKO-Pathe. . . 94
Gay Uuckaroo — Allied Prod 94
Good Sport — Fox 94
Guiltv Generation, The — Columbia . . 95
Hell Divers— M-G-M 48
Ik
Pa ere
Her Majesty, Love — First National . . . 4S
His Woman — Paramount 49
House Divided, A — Universal 49
Men In Her Life — Columbia 49
Morals for Women — Tiffany Prod 94
Keck and \Teck— Thrill-O-Drama 94
Opera Ball — Greenbaum-Emelka Prod. 94
Over the Hill— Fox 46
Peach O'Reno — Radio Pictures 48
Possessed— M-G-M 46
Racing Youth— Universal 94
Range I^aw— Tiffany Prod. 94
Rich Man's Follv — Paramount. . l>4
Page
Safe In Hell— First National 94
Speckled Band, The — First Division. . . 94
Sporting Chance, The — Peerless Prod. . 94
Suicide Vleet— RKO-Pathe 94
Surrender — Fox 94
Thirty Days — Patrician 94
Taxi — Warner Bros 95
Tip Off, The— RKO-Pathe 94
Tonight or Never — United Artists 47
Touchdown — Paramount 48
Working Girls — Paramount 94
N Marks the Spot— Tiffany Prod 94
Yellow Ticket, The— Fox 49
Photoplay Magazine for January, 1932
MOTHER AND SON — Monogram Prod. — REBOUND— RKO-Pathe.— Not in the big amuse-
Another Reno story, with Clara Kimball Young as ment class but worth seeing. Ina Claire and Robert
Faro LU. (Oct.) Ames. (Aug.)
MURDER AT MIDNIGHT— Tiffany Prod —
Yep, it's a mystery story and a swell one! Alice
White, in a small part, has a sex-appeal voice. (Oct.)
MURDER BY THE CLOCK— Paramount —
Willi such a cast, headed by Lilyan Tashman, this
should have been swell. But alas! and alack! this
gruesome, murder story is nothing but gruesome.
{Sept.)
MY SIN— Paramount.— Tallulah Bankhead and
Fredric March in one of those "should a woman tell
her past?" things. (Nov.)
MYSTERY OF LIFE, THE— Classic— Clarence
Darrow and a Smith College zoology professor ex-
plain evolution. Uh-huh, it's as dull as it sounds.
(Sept.)
MYSTERY TRAIN, THE— Darmour Prod.— Old
school mystery melodrama with plenty of sure-tire
hokum and suspense. (Nov.)
• NEW ADVENTURES OF GET-RICH-
OUICK WALLINGFORD, THE— M-G-M —
And they said William Haines was slipping! See this
knock-out comedy with Billy and the coming big
shot, Jimmy Durante, to be convinced they're
wrong. (Nov.)
NEWLY RICH— See FORBIDDEN ADVEN-
TURE.
NIGHT ANGEL, THE— Paramount.— A bad
display for the talents of Nancy Carroll and Fredric
March. (A ug.)
• NIGHT NURSE— Warners.— Drag out your
pet adjectives, go see this and use 'em. It's
great. Barbara Stanwyck, Ben Lyon and a grand
cast. (Aug.)
NIGHT RAID (UN SOIR DE RAFLE)— Osso
Prod. — A lively French film about a prize-fighter, his
real sweetheart and a siren. Amusing. (Dec.)
OLD SONG, THE (Das Alte Lied)— Austrian
Cinderella. Lil Dagover brightens it considerably.
German dialogue. (Nov.)
ONCE A LADY — Paramount. — Charming sim-
plicity and Ruth Chatterton's acting redeem a not too
original story. (Dec.)
ONE WAY TRAIL, THE— Columbia.— The Kids
will love these exciting adventures of handsome Tim
McCoy. (Dec.)
PAGAN LADY— Columbia.— The Sadie! horn P son
theme in a new dress, with Evelyn Brent wearing it
becomingly. (Nov.)
• PALMY DAYS— United Artists.— A typical
Eddie Cantor-and-nonsense show that should
bring film musicals back. (Oct.)
PARDON US— Hal Roach— M-G-M— Laurel and
Hardy in a lot of hokum. Funny. (Oct.)
PARISIAN, THE— Capital Prod.— This attempt
at a smart story made in England with Adolphe
Menjou and Elissa Landi proves that these glamour
kids get that way in Hollywood. (Nov.)
PENROD AND SAM— First National.— If you
haven't forgotten how it feels to be a kid you'll love
Leon Janney and Junior Coghlan in this. (Nov.)
PERSONAL MAID— Paramount.— Nancy Car-
roll gets all mixed up in a namby-pamby plot. (Nov.)
• PLATINUM BLONDE— Columbia.— Youth
and beauty, comedy and drama — and Jean
Harlow. A well done newspaper yarn. See it. (Dec.)
• POLITICS — M-G-M. — Polly Moran and
Marie Dressier start you off with a giggle and
you'll laugh all the way through the picture. Don't
miss these two attempting to clean up the town.
{Sept.)
PRIVATE SCANDAL, A
Another underworld story in
forms. (Oct.)
— Headline Prod. —
which the crook re-
PUBLIC DEFENDER, THE— Radio Pictures.
— After "Cimarron" you expect too much of Richard
Dix. That's why this story of a man who brings a
gang of crooks to justice is disappointing. (Sept.)
RANGE FEUD, THE— Columbia.— Buck Jones
may be your favorite Western star but you'll twiddle
your thumbs at this banal old story. (Dec.)
RECKLESS HOUR, THE— First National— An
old story with a few new twists. Dorothy Mackaill
and a good cast. Just fair. (Aug.)
RECKLESS LIVING— Universal,
ing little picture. (Nov.)
-An entertain-
RIDERS OF THE PURPLE SAGE— Fox— A
grand Western with iast action, grand Arizona
scenery and marvelous production. George O'Brien
and Marguerite Churchill excellent. (Dec.)
ROAD TO RENO, THE— Paramount.— Divorce,
murder, suicide and an important cast fail to make
this anything but a picture that just doesn't jell. (Nov.)
ROAD TO SINGAPORE, THE— Warners— Bill
Powell and Doris Kenyon — splendid in a tropical
drama of tangled loves and desires. (Oct.)
RULING VOICE, THE— First National.— (Re-
viewed under the title "Upper Underworld".) Differ-
ent from the average racketeering picture and bound
to make you think. (July)
SAL VATI O N NELL— Tiffany-Cruze— Religion
and sentiment are pretty obvious in this out-of-date
story, but Helen Chandler and Ralph Graves make
you believe every word of it. (Sept.)
SEA GHOST, THE— Imperial Prod.— Laura La
Plante wasted on this cheap, ridiculous story. (Nov.)
• SECRET CALL, THE— Paramount.— Peggy
Shannon, who pinch-hits for Clara Bow in
this one, scores a solid hit. It's a political story with
love interest. Dick Arlen excellent. (Sept.)
• SECRETS OF A SECRETARY— Paramount.
— The actors make this worth the price.
Claudette Colbert is fine and that Herbert Marshall,
from the stage, is one of those men vou don't forget.
(Sept.)
SECRET SERVICE— Radio Pictures.— Adven-
tures of a Northern spy behind the Confederate lines.
Richard Dix tries too hard. (Dec.)
SHANGHAIED LOVE— Columbia.— Mutiny and
gory evil-doings at sea. Too much dialogue. Not
enough action. (Nov.)
SHERLOCK HOLMES' FATAL HOUR —
Warners-First Division. — British-made mystery film,
rather long-drawn-out but not lacking in interest.
Sherlock Holmes and Watson solve another murder
mystery. (Sept.)
SHIPS OF HATE— Trem Carr— Murder and
gruesomeness on shipboard. Just fair. Don't pass
up a game of bridge for it. (Aug.)
SHOULD A DOCTOR TELL?— Regal Prod.—
Dreary talk about dreary ethics. Who cares? (Nov.)
SIDE SHOW— Warners.— Winnie Lightner and
Charles Butterworth try hard, but the un-funny
lines are distressing. A circus story. (Sept.)
SIDEWALKS OF NEW YORK— M-G-M.— A
laugh a moment and just the right number of
moments with "dead pan" Buster Keaton, Cliff
Edwards and Anita Page. (Oct.)
SILENCE — Paramount. — Sure-fire melodrama
with a punch. Clive Brook, Marjorie Rambeau and
Peggy Shannon. (Oct.)
*SIN OF MADELON CLAUDET, THE—
M-G-M. — One of the greatest mother stories
ever filmed, with Helen (stage) Hayes pulling at your
heart-strings. Don't miss it. (Dec.)
6 CYLINDER LOVE— Fox.— An amusing farce
with a pretty obvious plot. (July)
SKIN GAME, THE— British International.—
Pretty tedious. An excellent English cast, however.
(Sept.)
SKYLINE — Fox. — Thomas Meighan builds sky-
scrapers and saves Hardie Albright from vamp
Myrna Loy. Good entertainment. (Oct.)
SKY RAIDERS, THE— Columbia.— Gangsters in
the air! Thrilling stuff and good entertainment.
(July)
• SMART MONEY— Warners.— Moves as fast
as the money on the gambling tables in it.
Plenty of laughs and excitement. (July)
[ PLEASE TURN TO PAGE 16 ]
4
marks
the spot
WHY didn't the star
reporter write the big story that
would have sealed the slayer's
doom? "X Marks The Spot" is
charged with the electric tempo
of newspaper drama, crammed
with new breath taking thrills.
Featuring
LEW CODY
SALLY BLANE WALLACE FORD
FRED KOHLER MARY NOLAN
"Keep Your Eyes On Tiffany Pictures". Watch for
Clara Kimball Young's triumphant return to the screen
in "Women Go On Forever" — "Murder At Midnight",
the picture which broke the week-end record at the
B. S. Moss Broadway, ISew York — "Leftover Ladies",
based on an article by Ursula Parrott, famous author
of "Ex- Wife" and "Strangers May Kiss".
TIFFAI1V
PRODUCTIONS/ INC.
i6
Photoplay Magazine for January, 1932
whole tomatoes
jull^Ylavored
. . • j-ull-bodiecl
There's a lot of difference between
most canned' tomato juices and
tomato cocktail.
You'll taste that difference in the
original College Inn Tomato Cocktail
— made only from the richest, ripest
tomatoes; seasoned with rare deli-
cacy, and packed by the new exclu-
sive Hi-Vita process which retains all
the original flavor and vitamins.
It's the most full-bodied, full-
flavored tomato cocktail there is.
College Inn comes in glass con-
tainers— you see the inviting redness
inside. The new cap is a convenience.
Insist on the original College Inn
Tomato Juice Cocktail. Enjoy the
difference — like rich cream instead
of thin, watery milk. You'll say so!
At your dealer's.
THE ORIGINAL
TOMATO JUICE
COCKTAIL
College Inn Food Products Co.
Hotel Sherman Chicago
415 Greenwich St. . . . New York
Brief Reviews of Current Pictures
[ CONTINCED FROM PACE 15 ]
SMART WOMAN— Radio Pictures.— What a
performance Mary Astor gives and in what beautiful
clothes! A charming, sophisticated yarn of the
"Holiday" school. (Oct.)
• SMILING LIEUTENANT, THE — Para-
mount.— One of the breeziest and most tuneful
entertainments in a long time. Chevalier at his best,
under Lubitsch direction. See it. (July)
SOB SISTER— Fox.— You'll like this fast news-
paper yarn and Linda Watkins. Jimmie Dunn is
grand, too. (Nov.)
SON OF INDIA— M-G-M.— A fairy-tale sort of
thing with Ramon Novarro as Prince Charming.
If you like Oriental romance, this is itl (Aug.)
SPIDER, THE— Fox.— Thrills and shivers over a
murder in a theater. Eddie Lowe is grand and
suspense is geared on high. (Oct.)
• SPIRIT OF NOTRE DAME, THE— Uni-
versal.— Knute Rockne lives again in this
powerful football story with Lew Ayres and the real
Notre Dame team. (Dec.)
SPORTING BLOOD— M-G-M.— The biography
of a race horse. Not interested? All right, then,
Clark Gable has a featured role. That should get
you. It's a good movie. (Sept.)
• SQUAW MAN, THE— M-G-M.— A new
version of a grand old story. See it by all
means. Warner Baxter and Lupe Velez. (Aug.)
• STAR WITNESS, THE— First National —
At last! An entirely new plot with suspense,
humor, heartache. Walter Huston, Chic Sale and
Frances Starr are in it. Worth your time. (Sept.)
• STREET SCENE— United Artists.— Thirty-
four excellent actors and super-direction by
King Vidor make this one of the great pictures of
the year. A vivid cross-section of life you'll never
forget. (Oct.)
• STRICTLY DISHONORABLE— Universal.
You'll love this story of the grand opera singer
captured by the innocent little girl from Mississippi.
Taul Lukas, Lewis Stone and Sidney Fox all great.
(Dec.)
STUDENT'S SONG OF HEIDELBERG, A
Eln Burschenlied Aus Heidelberft)— UFA.— Rol-
icking tunes, students and Heidelberg campus stuff.
Even if you don't know German you'll enjoy it. (Noi:)
SUBWAY EXPRESS— Columbia.— Jack Holt in
a thrilling mystery of the stage that lost its kick in the
movie version. (July)
SUNDOWN TRAIL— RKO-Pathe.— Good acting
helps a poor Western. (Oct.)
• SUSAN LENOX, HER FALL AND RISE
— M-G-M-. — Romance spread thick, passion
strong. You Garbo-maniacs will eat it up. Clark
Gable plays opposite. Don't miss it. (Sept.)
SWEEPSTAKES— RKO-Pathe.— Some romance,
thrills and fast lines in a race-track yarn. Quillan
and Gleason take honors. (Aug.)
TERROR BY NIGHT— Famous Attractions. —
Bet you can't guess before the last reel who did the
murder. A good mystery with comical Una Merkel
and ZaSu Pitts. (Dec.)
TEXAS RANGER, THE— Columbia.— Carmelita
Geraghty is the gal, Buck Jones the hero. (July)
THIRTEEN MEN AND A GIRL— UFA.— A
dreary tragedy. Foreign made. English dialogue.
(Oct.)
THIS MODERN AGE— M-G-M.— Joan Craw-
ford lovely and dripping box-office appeal in a
ridiculous story. (Nor.)
THREE LOVES— Terra.— Marlene Dietrich is
the only reason for seeing this three-year-old Ger-
man silent. (Aug.)
THREE WHO LOVED— Radio Pictures.— Ex-
cellent acting by Betty Compson and Conrad Nagel
in a production that suffers from too much story.
(Aug.)
• TRANSATLANTIC — Fox. — Edmund Lowe
and Greta Nissen plus an exciting melodramatic
plot, make this one of those hit pictures you mustn't
fail to see. (Sept.)
TRANSGRESSION— Radio Pictures.— The same
old anRle of the eternal triangle. Kay Francis wears
swell clothes. (Aug.)
TRAVELING HUSBANDS— Radio Pictures.
Risque but not objectionably so. Top-notch acting,
with Evelyn Brent in the lead. (July)
TWO-GUN MAN, THE— Tiffany.— A Western in
old swashbuckling style, nothing new but good enter-
tainment. Ken Maynard and horsel (Aug.)
• 24 HOURS— Paramount.— It's not only good
but different. Kay Francis and Clive Brook
are grand. (Nov.)
UNHOLY GARDEN, THE— United Artists.—
Far-fetched melodrama and romance in a Sahara
castle, with Ronald Colman working hard to save
the impossible story. (Oct.)
UP POPS THE DEVIL— Paramount.— Young
love and its struggles neatly handled by Norman
Foster, as a young author, and his wife, played by
Carole Lombard. Sprightly dialogue. (July)
• VICE SQUAD, THE— Paramount.— Besides
being something that will keep you interested,
this is a picture you'll think about. Paul Lukas. Kay
Francis and Helen Johnson are excellent. (July)
VIKING, THE— Varick Frissell Production.— A
picture of the boat that met Arctic tragedy. Good
photography. (Aug.)
WAITING AT THE CHURCH— Radio Pictures.
— An amusing storv with lovelv Technicolor effects.
(July)
• WATERLOO BRIDGE — Universal. — It's
morbid, yes, but it's intelligent and honest
screen fare. A war background, but don't let that
stop you. You'll like Mae Clarke. (Sept.)
WAY BACK HOME— Radio Pictures.— If you
follow Seth Parker on the radio, you'll enjoy seeingas
well as hearing him. He uses all his radio stuff. (Dec.)
WEST OF BROADWAY— M-G-M.— John Gil-
bert's voice is low — so is the entertainment value of
the picture. Jack is a war veteran with six months
to live. (Oct.)
WHITE DEVIL, THE— UFA.— Russians in big
fur hats are doing serious things again. You need not
bother. (Nov.)
WHITE SHOULDERS— Radio Pictures.— Rex
Beach's dramatic story makes an interesting picture.
Jack Holt. Mary Astor and Ricardo Cortez form the
triangle. (July)
WICKED — Fox. — Elissa Landi and Victor
McLaglen are good in a too heavy drama about a
bank robber and his wife who go to jail. (Oct.)
WILD HORSE— Allied.— Hoot Gibson captures a
wild horse, a bank bandit, a murderer and his
audience's approval, all in one handsome gesture.
(Sept.)
WOMAN OF EXPERIENCE, A— RKO-Pathe.—
Only average entertainment, in spite of a cast which
does its best. Helen Twelvetrees, ZaSu Pitts and
Lew Cody. (July)
WOMEN GO ON FOREVER— Tiffany-Cruze —
Your old friend Clara Kimball Young makes a good
comeback in this story of racketeers and illicit love.
A lively film with plenty of comedy relief. (Sept.)
WOMEN LOVE ONCE— Paramount.— Produc-
ers wasted their time and that of Eleanor Boardman
and Paul Lukas on this one. (Aug.)
WOMEN MEN MARRY — Headline Prod. —
Don't take this picture too seriously and you may
not find it too dull. Sally Blane is nice and Natalie
Moorhead wears startling clothes. (Sept.)
WOMEN OF ALL NATIONS— Fox.— Edmund
Lowe and Victor McLaglen as Quirt and Flagg of
"What Price Glory" fame, continue their adventures.
Good, rough entertainment, but not a Sunday school
text. (July)
YOUNG AS YOU FEEL— Fox.— Another grand
Will Rogers film, funny enough to make you forget a
toothache. (July)
• YOUNG DONOVAN'S KID— Radio Pic-
tures.— Good. From Rex Beach's story "Big
Brother." Little Jackie Cooper practically steals the
show in spite of Dix's excellent work. (July)
YOUNG SINNERS— Fox.— The old story of
modern kids in a jazz and cocktail setting. Thomas
Meigban is a bright spot. Dorothy Jordan and Hardie
Albright give an exhibition of couch wrestling. (July)
(.(•
c
aviar
M.
I
in
ariene
Most of the studios
have lunchrooms for
the players. At the
M-G-M they call it
"The Commissary."
At Fox it's "The
Munchers"; where
everyone is served
with ice cold grapes
free, even with just a
ham sandwich. Here's
Warner Baxter tearing
through a bowl of soup
and telling Helen
Mack and Minna Gom-
bell the gossip of the
morning's work on the
sound stages
THE manager of the Em-
bassy Club in Hollywood
was showing Mary Pick-
ford through the kitchens
when a waiter came swinging
through calling, " Caviar for
Marlene Dietrich, and Ann
Harding's cocktail." The
waiter hadn't even been over
to their tables, but when he
saw them come into the dining
room he knew that their order would be "the usual thing."
The Embassy is one of the swanky places in Hollywood
where the stars eat. At the studio restaurants they dash in f<3r
i hurried bite, but at the Embassy they have time to be social.
This club used to be barred to the casual visitor, but a short
time ago it opened its doors to the public for dinner. At
luncheon it still remains the stars' stronghold.
Perhaps you will be surprised and interested to know that
Eddie Brandstatter, the genius behind the scenes there, has
discovered that the stars prefer simple foods rather than
elaborate fare. Each one has some favorite dish, each some
special taste to which Eddie caters.
Now, there's Lilyan Tashman, who should have sophisticated
:ulinary tastes if anyone ever did have. But Lilyan just eats
heartily of everything and anything she likes. She has ginger
lie with any meal, never drinking tea or coffee. At the Em-
bassy, one of her favorite
dishes is cold Columbia River
salmon served with rings of
hard-boiled egg and covered
with a thin spicy sauce that
is an Embassy specialty.
Evelyn Brent combines break-
fast and lunch. Her favorite
dish is bacon and eggs.
"Bacon and eggs for Evelyn!
Tomato cocktail for Ann!" and
ah, here's Eleanor Boardman's
special lamb stew
MARLENE DIETRICH
isn't the only one who
has a standingorderf or caviar.
[t costs Josef Von Sternberg
md Eric Von Stroheim a
pretty penny to satisfy their
tastes for the delicacy. They
frequently lunch together,
usually arriving at the club a
little early so that they are
finished before the crowd ar-
rives. They always order
Photoplay Magazine
919 N. Michigan Ave.. Chicago, 111.
Please send me a copy of Photoplay's Famous
Cook Book, containing 150 favorite recipes of the
stars. I am enclosing twenty-five cents
Be sure to write name and address plainly.
You may send either stamps or coin.
Russian caviar and rarely ever
leave before having consumed
a pound of it between them.
And caviar is SI 8 a pound!
Nearly everyone has his
own table at the Embassy and
although the place has an air
of elegance, it also has a charm-
ing feeling of intimacy. Every-
one knows everyone and there
is much going back and forth
between tables during the lunch period.
Carmel Myers always orders cottage cheese and chives on
green lettuce, with a sprinkling of paprika over it.
Joan Crawford is another salad devotee. She has a favorite
which consists of prunes stuffed with cottage cheese placed on
cottage cheese, the whole served on lettuce. Another favorite
of Joan's is a salad made with romaine lettuce garnished with
chopped hard-boiled eggs and tomatoes. Over this she pours a
dressing which she mixes at the table. The dressing is vinegar,
olive oil and dry mustard mixed together to a thin consistency.
To this is added salt, pepper and paprika to taste.
LAMB stew is a great piece de resistance. And at the Embassy
it is prepared in such a way as to tempt the epicure. Eleanor
Boardman frequently orders it. The lamb is cut up in good-
sized pieces and stewed with carrots, peas and onions. Before
serving, a gravy sauce is
poured over the whole. On
the large platter upon which
it is served, the stew is ringed
with curried rice. This dish,
like many others, is served
buffet fashion from a cart.
Stewed fruits are a non-
fattening dessert favored by
a majority of the stars. A
compote composed of various
fruits is served in a huge sil-
ver bowl and passed from
table to table.
Janet Gaynor, Lydell Peck,
Charlie Farrell and Virginia
Valli often dine out together
at night. At the Embassy,
one of their favorites is filet
mignon with mushrooms.
CAROLYN VAN WYCK
17
i8
Photoplay Magazine for January, 1932
]\$o lost pay days
FOR HER !
SHE ESCAPES
COLDS
by gargling
twice a day
with
LISTERINE
Reduces number 66% — effective because SAFE
Don't let a cold rob you of part of your pay. In
these days it is important to be on the job all
the time. Every penny counts.
There is an easy, pleasant, and safe way of
helping to prevent colds and to check their
severity once they have started.
Gargle with Lis ferine Twice a Day
It is the twice-a-day gargle with full strength
Listerine. Year in, year out, millions have
proved that it keeps them in better health.
Builds up resistance to colds and other infec-
tions in the mouth.
And now, clinical tests show that those who
employed Listerine as a mouth wash, had only
y£ as many colds, and sometimes only y^ as
many, as those who did not gargle at all. These
tests, conducted over a period of 75 days,
under medical supervision, also showed that
even when colds were contracted, they lasted
)/$ as long and were only % as severe.
Germ-killing with Safety
Why does Listerine accomplish such amazing
results when ordinary mouth washes fail?
First, because used full strength just as it
comes from the bottle, it kills germs associated
with colds, in the fastest time. As a gargle, it
reduces the number of surface germs 98%.
And maintains substantial reduction for hours.
Healing in Effect
Second, because Listerine is safe and non-
poisonous. Unlike mouth washes so harsh they
must be diluted, Listerine's action is always
healing. Therefore, while it kills germs, it at
the same time relieves inflammation.
Because of its safety, and its soothing and
healing action, Listerine has always beer, fa-
vored by physicians, nurses, and laymen, over
poisonous mouth washes dangerous if not
diluted exactly.
Ends Bad Breath
Keep Listerine handy in home and office. Carry
it with you when you travel. It is your protec-
tion against infection and is also your assurance
that your breath will be pleasant, sweet, and
not offensive to others. Lambert Pharmacal
Co., St. Louis, Missouri.
Choose Mouth Wash Carefully
Some watered — others dangerous
Of 203 mouth washes which were ana-
lyzed, 94 were non-antiseptic, 107 could
not kill germs in 3 minutes, and I43 were
unable to kill germs in I minute. Some
used with water were useless. Others
were so harsh they irritated mouth
tissue and were therefore dangerous.
THIS young lady now answers to the title of Marquise de
la Falaise. Constance Bennett and Gloria's one'time hus'
band have said, "We do." It was a simple ceremony, performed
by a judge. Connie wore a blue dress, pearls and a smile. The
wedding rings (he'll wear one, too) are plain platinum bands
Clarence Sinclair Bull
POLISH that old crown ! Fluff up those pillows on the throne !
Where did Lil Gish leave that sceptre, Chamberlain? You'll
shout yourselves hoarse hailing the new queen, for Helen Hayes
captures your heart in "The Sin of Madelon Claudet." And
there's a grand story about her in this issue
Gene Robert Richee
PAUL LUKAS has trouble making that Hungarian accent be
have when he's learning his lines. But in "Strictly Dishonor'
able" he makes the girls' hearts do nip'ups. And in spite of the
coolness between him and Ruth Chatterton on the "Tomorrow
and Tomorrow" set, they say the picture is great stuff
Shalitt
WIFEY CLAUDETTE COLBERT works in New York.
Hubby Norman Foster works in Hollywood. And a lot of
meanies said they couldn't bill and coo over long distance
Claudette hopped a train to the Gold Coast for a brief visit and
now everything looks dandy. Claudette's latest is "His Woman''
WILL BUY A FINER WATCH
THAN YOU'VE EVER BEEN
ABLE TO GET FOR THE MONEY
Never was there such an opportunity to give the
most useful and cherished of all Christmas gifts
— a fine Illinois Watch.
Look at these few of the latest Illinois designs.
They are beautiful —authentically modern, smart
and stylish. They are sturdy,accurate timekeepers.
And priced lower than ever before for such quality.
Joan Crawford, Robert Montgomery, Anita Page
and Wallace Beery are among the stars of Metro-
Goldwyn-Mayerwho have chosen Illinois Watches.
Write us for beautiful photographs of these stars.
Also for attractive booklet illustrating many other
Illinois Watches. Illinois Watches have been made
in America for more than sixty years. Address,
THE ILLINOIS WATCH, SPRINGFIELD, ILLINOIS
Ladies' Watches ~ claudette $32.50. 14K filled white
or natural sold. 15 jewels . . . HOLLYWOOD $40.00. 14K filled
white or natural sold. 17 jewels . . .COQUETTE $52.50. 14K
filled white gold. 17 jewels.
Men's Watches ~ beau royale $35.00. 14K
filled white or natural gold. 15 jewels . . . ARLINGTON
$37.50. 14 K filled white or natural gold. 15 jewets . . .
BOSTONIAN $47.50. 14K filled wh.te or natural
gold. Matched bracelet. 15 jewels.
Robert Montgomery
Metro&oldwyn'Maycr star in
"Private Lives"
ILLINOIS
WATCH
>
THE ILLINOIS WATCH. SPRINGFIELD, ILLINOIS Please send me photosraphj of stars and Illinois Watch booklet.
Name . ...Address
r
o/tl
°V v
<xa atari • soft, smooth, white
37 SECOND BEAUTY TREATMENT GUARDS THEIR. CHAFLM
Your hands and arms are so
much the center of attraction
. . . while serving tea this after-
noon . . . sliding counters across
the backgammon board this evening
. . . and later, silhouetted against the black
of your dancing partners coat. Always they
must be soit and smooth and youthful, despite their
exposure to wind and sun on this mornings cross
country drive, or your eighteen holes ol golf.
Here is the quick, easy way to guard hands and
arms against every danger that threatens their loveli-
ness. Apply just a lew drops ol C hamberlain s
Chamberlain's
Chamberlain Laboratories
Dept
45. Dcs Moines
Iowa
Enclosed ia ]0c. Please
Chamhcilain's Lotion.
Home
send me the purse sisc
iacon of
Civ
.... State
Lotion after exposure to sun.
wind or cold, and always as
the iinishing. touch to your
toilette.
Stop watch tests show that this clear
liquid is completely absorbed by the
average skin in only 37 second*. iNo bother-
some massage is necessary. It is not at all sticky or
greasy and has a delightful orange blossom Iragrance.
Regular use of Chamberlains Lotion will keep
your hands and arms always well groomed ana
presentable. You will like it. too, as a powder base
and astringent.
^'hmmberltin i Lotion /« told »t ill dm$
•tore* *nd toilet Qoodt counter*, 50c »nd
$1. For M purie lite trill fltconette
lend lOc to Department 45, Cnjmner/j/n
Ltbontoriei, Dei Sloinei, /o»i.
LOTjON
"Gjhe JnvLSLble QLove'
JANUARY, 1932
Close-Ups and Long-Shots
By
James R. Quirk
I HAVE always admired Gloria Swan-
son. She is one of the most courageous
women I have ever known in a business
where courage is as necessary as beauty and
artistry. She has had to fight every inch of
the way to her present high place in
pictures.
But there has always seemed to be some-
thing pathetic about courageous, little five
foot and one-half inch Gloria. And never more pathetic
than as she sails from San Francisco to France alone
with her Michael, the handsome "playboy" of London
and Paris.
Walter Winchell (need we any longer say "New
York columnist"?) has said that Gloria is "lullaby
shopping." The queens of the cinema have about as
much privacy as the few remaining queens of Europe.
When Gloria comes back to Hollywood there may
be another heir apparent to the throne of that mythical
kingdom of Cinemondia.
Good luck, Gloria.
HERE is something that none of our Hollywood
writers have reported yet — the fad of the black
wedding ring. A New York society divorcee started
it. A mourning ring for a dead romance.
Hollywood press-agents, please copy.
DURING the making of "The Champ," Jackie
Cooper was having one of his off-days. He just
would not cry. Director King Yidor was desperate.
He pleaded with his young star, but all his cajolery
was futile. The tears would not come.
" I'm trying," said the little fellow, "but I don't feel
like crying. I'm sorry, Mr. Yidor."
"I give up," said King. "Red, see what you can do
with him. He likes you."
Red, who is King Yidor's assistant
director, shrugged his shoulders, hope-
lessly. Then he went up to the back plat-
form where the boy was sitting.
"Jackie," he said, "Mr. Yidor is going to
quit the picture. He says he is going to tell
Mr. Mayer you are a rotten actor."
With that Jackie started to sob, and he
meant it, too.
That's the scene on the observation car platform
that tears at your heart.
POLICE Court Magistrate J. A. R. Cairns, of
London, got out of the wrong side of his bed one
morning recently, called for his tea, adjusted his
monocle, and roared:
"Film producers are fouling civilization. Con-
stantly in my court here I see girl-mothers faced by
lads challenging their obligations to paternity. Seduc-
tion is the normal initiation into society."
Tut, tut, Mr. Cairns, perhaps these young people of
yours have been reading those novels of English
society written by your Michael Arlen and Beverly
Nichols. Before we went broke all of our young ladies
were introduced into society with formal and expen-
sive debuts at the Ritz-Carlton or the Waldorf-
Astoria. And if you read the papers at all, you must
know that in Hollywood, at least, the boys marry
their girls, time after time.
THESE economists may be pretty smart fellows,
but when one of them lists the slim picture stars
as one of the causes of the low price of wheat, it is more
than we can stand for. Attempting to achieve the new
svelte style of sex appeal, he says, American women are
laying off wheat cakes and laying in vast supplies of
tomato juice. If that economist could see Mary Astor
and Connie Bennett going for a huge stack of griddle
cakes, he would change his mind.
You can still walk the Streets of Hollywood without
danger of being hit by discarded waffle irons, thrown
out the windows of the Hollywood elect.
A( JASTING director put in a call for one hundred
"tough" characters for a picture. They were
used in a women's prison story.
The types were so real that they stole twenty
poeketbooks, fourteen coats and one revolver from
each other.
I HAD a pleasant little duty to perform the other
day that gave me quite an emotional thrill. It was
the presentation of the Photoplay Magazine Gold
Medal to Carl Laemmle, head of the Universal Com-
pany, for the production of "All Quiet on the Western
Front," the best picture of 1930.
In my talk I recalled that this man has survived in
picture activity all the outstanding figures of the early
days of motion pictures. One by one they have re-
tired, died, or faded into obscurity. I refer to the days
when a sturdy little group of independents fought with
fang and claw against the old General Film Company,
which claimed control of the vital motion picture
patents. William Fox and Carl Laemmle were the
leaders of the insurgents, and the "Trust" declared
them outlaws.
TODAY William Fox is playing golf on his Long
Island estate. He sleeps soundly and with a smile
on his face, undisturbed by the financial crisis through
which the picture business is struggling, secure in the
millions he made and kept. "Uncle Carl" sits, a
diminutive figure, behind a big mahogany desk, and
thanks the God of his forefathers that he doesn't own
a single motion picture theater, and that his pride and
joy, Carl, Jr., has, at the age of twenty-two, become
one of the most successful producers of Hollywood.
Carl Laemmle had tears in his eyes as he accepted
the Gold Medal. Then to hide his emotions, he asked,
"How is Boh East man?" I told him Bob hadn't been
feeling so well lately. "Well." said Carl, "I'll see him
at the Kentucky Derby, anyhow. We meet there
every year. Ask him to tip me off if he has any
hunches."
THE name Robert M. Eastman has for years been
beside mine at the bottom of the index page of
Photoplay and, I hope, will be there for many years
to come. He is the man who first envisaged the pub-
lication for what it is today. His faith in it, backed by
his money, was almost fanatical.
Coming from Minnesota to Chicago as a young
journeyman printer, he built the W. F. Hall Printing
Company into one of the largest and most efficient in
the world, and while he has now turned the active
26
administration of the huge business over to his organ-
ization, the man's indomitable spirit is behind every
revolution of every giant press. '
PHOTOPLAY celebrated its seventeenth birthday
recently and I received this wire from him: "Kay
Dee tells me Photoplay is seventeen v cars old today.
Jim. and isn't she a beauty? I always knew, even as
a colt she would he a winner."
Bob's outstanding interests in life, after his family,
are his printing plant, his famous racing horse, "Mike
Hall," and Photoplay. I like to think Photoplay is
his favorite, for he saw it through from a bankrupt
little pamphlet of 13,000 circulation to its present
prosperous 600,000 read by two million picture
devotees scattered all over the world.
INCIDENTALLY, Bob Eastman is the arch villain
who started night life in the picture colony, seven-
teen years ago. He gave the first big party. We had
just reorganized the magazine when Bob thought we
had better go out to California to look the picture
business over. I will admit now, for us both, that we
had an idea the trip would not be all hard work.
As we started out on our daily labor of investiga-
tion, Mack Sennett's studio was always the first stop,
and almost every evening would find Mack, Ford
Sterling, Roscoe Arbuckle. Mary Pickford and her
charming and clever mother, Charlotte, Mabel
Xormand, Owen Moore, Charlie Murray, Mr. and
Mrs. Eastman and myself gathered around a big table
at Al Lew's restaurant.
BEFORE we left. Bob threw a big party at the Old
Log Cabin on West Adams Street. He was the
richest man the group had ever known, and the party
for fifty must have cost as much as one table for eight
at the swanky Mayfair of today. We had champagne
and beer, and didn't have to watch the door for a
Federal raiding party, nor drink for the pure joy of
breaking any laws.
They didn't sell hard liquor in California even in
those days, and nobody wanted it. Congenial folks
could get a little mellow then without getting piflicated.
IF you are wondering about the identity of the
" Kay Dee" whom Bob Eastman mentioned in his
birthday telegram, look at the initials of the third
party at the bottom of the index page. Kathryn
Dougherty. She was a kid bookkeeper when Bob and
I went off on that first visit to the picture colony
and she was sitting on the lid of the business in our
absence. She is still holding down the lid today, the
best known and most beloved woman executive in the
publishing business.
It seems that I have been talking a lot about our-
selves, but only once in a lifetime do we have a seven-
teenth birthday.
We
11
T.
hat's
S
e 1 1 1 e d
We've finally got Dorothy and
Richard married without much
fuss or orange blossoms
I:
She's a good sport
'M not going to marry Neil Miller until he gets a job,"
Dorothy Mackaill told us two months ago.
I'm not going to marry until I find a girl who wants
babies and is a good sport," Richard Dix told us five
years ago.
Well, Neil got a job and Dorothy married him. And, while
we haven't overheard the private conversations of Richard Dix
and his bride, Richard seems to be satisfied.
One week after Neil took the position of orchestra director
for the Embassy Club, one of Hollywood's swank spots, he
and Dorothy flew to Yuma, Arizona, and were married.
Of course, Neil had had positions before. In fact, he gave
up a good one as agriculturist for the Hawaiian Sugar Planters
Association. He has been offered picture engagements. And,
as the fiance of a popular star, he would have been offered more.
Things happen that way. But he was determined to sing and
play.
He croons like nobody's business, is tall, handsome, and
young — they're both twenty-six.
We're glad they are married. Now we can stop guessing.
Ever since Dorothy divorced Lothar Mendes, the German
director, in 1928, we have been running out in our bare feet
every morning to snatch the early paper for latest news of her
romances. And she had plenty.
You probably recall, on April 20 of this year, Dorothy and
Neil obtained a license to marry in Honolulu. But the wedding
was postponed. It was generally understood that Dorothy's
mother, Mrs. Florence Wise, persuaded them to wait a while.
Close upon the heels of this came the rumor that Dorothy
was engaged to Walter Byron, English actor, at the time she
sailed for Honolulu. When Photoplay interviewed Mr. Byron
to ascertain the facts in the case, he said he was still waiting
for news from Dorothy. He pretended that he really thought
And he got a job
they were engaged. This was just a joke of his, not to disap-
point the newsgatherers; and, incidentally, it was not bad
publicity for him.
We had hardly gotten to press with this story when John
McCormick, divorced husband of Colleen Moore, told the
papers in Honolulu that none of these other reports were true,
as he was going to marry Dorothy.
The funniest report ever circulated about Dorothy was on a
former trip to Honolulu. How that girl loves Hawaiian moon
light! Newspaper men were pressing her for a story, just as
she was getting on the steamship Malola. Seeking a way out,
she told them she was leaving behind her the man she was
going to marry, and quickly pointed to an actor-director, who
was standing among the visitors at the dock. "His name is
Horace Hough, and this is the gentleman right here." He, as
a joke, said he hoped to marry Miss Mackaill as soon as he
had money enough. Of course, all the mutual friends knew he
already had a wife and Dorothy was only kidding, but the
papers printed the story.
The Miller-Mackaill wedding ceremony was performed by a
justice of the peace. Dorothy and Neil went across the border
to Algadonez, Mexico, and had dinner and flew back again at
six o'clock, so Neil missed no time from the Embassy. You
can imagine the ovation he received that evening.
I SUPPOSE the question most people want answered is:
"What is Mrs. Winifred Coe Dix like?"
Well, she's non-professional but cute and pretty enough to
go professional if hubby ever gets to the place where he can't
support her. But she's the type who prefers to be supported.
Twenty-three. The daughter of a wholesale grocer who is
rated "wealthy" even during the depression. She was born in
Minneapolis, across the river from St. Paul, where the stork
deposited Richard fourteen years [ please turn to page 114 ]
27
liollywoocTs v^ruelty
The ruthless persecu-
tion of Greta Garho —
an incredible, but sadlv
true, story
FOR sheer cruelty, the Middle Ages had nothing on modern
Hollywood when it came to practicing the art of persecu-
tion. And there is no one in Hollywood today who
knows better what it is to be put on the rack and tortured
than Greta Garbo.
Instead of trying to understand her, Hollywood has spent
every effort to dig an early professional grave for her. I know
how true this is, because, unintentionally, I have been one of
her most active grave-diggers.
And now I am going to make a confession that hurts —
hurts, because it isn't easy to admit one's weaknesses. But
there is such a thing as justice, and the attacks upon Greta
Garbo have become so numerous recently that the good side
of my nature cries out: It is time to be fair to her!
Four years ago I wrote the first and only bona fide life story
of Greta Garbo for Photoplay. She spent many hours giving
Tony Moreno resented the favoritism he thought was
shown Garbo. They insisted that he wear boots so that
Greta's feet would look smaller. But in this "still" he's
getting all the breaks, Garbo just looking on
.'S
Mauritz Stiller
Lon Chaney
Four Who Were
me the material. I was fascinated by her sincerity, her warm,
earthy qualities; her utter lack of affectation. After my story
was printed, she said to me. "I do not like your story. I do
not like to see my soul laid bare upon paper."
After that she decided not to see writers. She was perfectly
frank, but I was hurt. I did not stop to analyze that there
might be a justifiable reason for her decision.
We all know the general story of Garbo. Hollywood had to
take her if it was to get the great European director. Mauritz
Stiller. Metro-Goldwyn-Mayer paid her S250 a week to secure
him for the movies. This curious peasant girl with her big
feet, her timidity, her combination of humility, ambition and
indifference, became the laughing stock of the Metro-Goldwyn-
Mayer lot. I remember how studio employees pointed her
out to me saying, ''Look at her! Isn't she funny? Imagine
that Swede trying to get into picture? I "
They cast her in "The Temptress" because Mauritz Stiller
insisted upon it. He was to direct it. Naturally, he directed
the production in a way that would work to the advantage of
his protege. Garbo was tall. Antonio Moreno, the star, was
not so tall. The director insisted that he wear his hair pom-
padour fashion to make him look taller. He put him into
boots — undoubtedly to make Garbo's feet look smaller.
Moreno resented this favoritism. There was a battle, and
Stiller lost. He was removed from the picture.
rp
'HIS was Garbo's first experience with studio politics. Be-
i- cause of her, Stiller lost his job. Yet it was her friend Stiller
who had insisted on her being in the picture! She was be-
wildered, crushed.
Everywhere she turned she was confronted with intrigue,
unkindnesses. The publicity department got hold of her and
made her do all kinds of absurd things— things she didn't un-
derstand, but which she was good enough sport to go through
with. They took her to the beach and photographed her in a J
track suit. When a prominent prize-fighter visited the studio
one day she was photographed shaking hands with him. By
this time she could talk a little English. She said, " When I am i
beeg like Gish (then the queen of the Metro-Goldwyn-Mayer
lot) no more publicity like this; no more handshakes with
prize-fighters! "
I have seldom met anyone more timid than Garbo. \\ hen
I first went to interview her she kept me waiting in the lobby
of her hotel for fifteen minutes. When she arrived she was all
apologies — hesitating, nervous ones. She was sincerely fright- |
ened. At another time, a New York critic, recently arrived
in Hollvwood. went to the studio to talk with her. She was
to
G
reta
(jrarbo
By Ruth
Biery
f?
Jack Gilbert
Harry Edington
Kind to Greta
in such a state of nerves before his arrival she couldn't work.
One reason that Greta is always sending flowers to those
whom she admires is because she is incapable of expressing ap-
preciation verbally. She sent them to Marie Dressier when
they finished "Anna Christie," as an appreciation for what
Marie had done for that produc-
tion. She sent some to Adrian when
she saw the clothes he had designed
for "Romance." She even sent
them to Ernst Lubitsch because she
could not tell him, her intimate
friend, how much she enjoyed his
"Love Parade."
THINK of the sorrow of this tim-
orous girl when she completed
" The Temptress" without her bene-
factor, Mauri tz Stiller, and went into
" Flesh and the Devil." If only she
had someone to lead, to teach, to
enlighten! Then she met Jack
Gilbert.
Jack Gilbert and Mauritz Stiller
had one thing in common besides
their affection for this woman. They
each recognized the weird trick
which Fate had played when it
combined in Garbo the physique of
a peasant with the talent of a Bern-
hardt. What Stiller had done for
her in Europe, Gilbert decided to do
in this country. He appointed him-
self her mentor and guide.
He told her not to pose for pic-
tures which she did not understand
and did not like; not to talk to in-
terviewers if it made her nervous.
Whenever an interviewer was
brought onto the set, Jack planted
himself there as a protector. "Don't
say that!" he would tell her. He
instilled in Greta Garbo distrust
of the writing profession.
Greta listened and believed. Why
shouldn't she? Here was the
screen's greatest hero taking un-
limited time, spending large
Imagine that Swede
trying to get into pic-
tures!" that's what they
said about Garbo
amounts of his great energy to help a green newcomer. Her
appreciation cannot be estimated by those who do not know
the depths of her nature. I do not think Greta was ever in love
with Jack. And I think his love for her caused her more em-
barrassment and sincere regret than any experience she has had
in Hollywood, with the exception of the failure of Mauritz
Stiller
She may have loved Stiller. I do not know. I do know she
enshrined him. When she talked to me of Stiller her eyes filled
with tears, her entire body trembled with emotion. But with
both of these men, gratitude was a predominating emotion.
The love of both men at the same time was unfortunate. You
remember the time that Jack Gilbert was thrown into the
Beverly Hills' jail. The cause was given, in the newspapers, as
disorderly conduct. The truth was, Mauritz Stiller was calling
on Greta Garbo. Jack arrived [ please turn to page 102 ]
The publicity department made Garbo do many things before she was powerful
enough to refuse. Posing with this baby lion was a task she didn't relish and she
hated wearing running trunks to be photographed with a university track coach.
But she had no choice ! Those were the orders given
29
Crowds! Stars! Thrills! Ermine!
30
HERE is the greatest photograph of a Hollywood
premiere ever made. Crowds, waiting for hours
to catch a glimpse of the stars, straining at the ropes.
Lights! Excitement! Noise! Ballyhoo! "Five Star
Final" opens! Good work, Mr. Photographer Stagg
Lights! M
i c r
op
o n e s .
! High Ha
t s
Photo by Stagg
HP'HE great ones arrive, splendid in top hats and
■*- glittering jewels. Eddie Robinson and his Mrs.
are at the mike. Joan Blondell on his left. You'll also
discover Louise Fazenda, Loretta Young, Lew Cody,
Jean Harlow and Walter Huston and bride out front
31
ueen
M
arie
Rags are royal rai-
ment when worn
byMarieDressler.
As the old wharf
rat in "Min and
Bill" — ev ery
pound a queen
Because of her
work in this role
she was chosen as
the greatest ac-
tress of them all
by the Motion
Picture Academy
Of Hollywood
IN the world's capital of youth and beauty, a woman past
sixty is now the reigning queen.
The Academy of Motion Picture Arts and Sciences,
representing the industry, and PHOTOPLAY Magazine, repre-
senting the motion picture public, have given her the crown
and the title, '"Queen Marie of Hollywood."
Dolly Gann wouldn't stand aside for Alice Roosevelt, who
was known as the princess of Washington, but she graciously
gave way to Marie Dressier at filmland's annual big banquet.
That woman who played the blowzy old wharf rat of "Min
and Hill"' holds the sceptre of Hollywood.
Oh, many stars have been called queen. Mary Pickford —
the most persistent contender to the title. Gloria Swanson -
upon her triumphant return from
Kurope with a real Marquis.
Marion Davies — the film capi- D T I
tal's social leader. Greta Garbo IS )r J OS ef ll
— who truly rules the hearts of millions of picture lovers.
But wait — about every one of these women there has been
dissent. Little whispering choruses have said they were not
so great. Jealousy has gripped the hearts of their rivals.
Not so " Good Queen Marie of Hollywood."
Since her sensational rise which began several years ago
there has not been a word of criticism murmured about her.
No one is jealous of her.
Not one of the tens of thousands of letters received by
PHOTOPLAY about her — and they arrive in flocks, those letters
—have ever contained anything but the highest praise.
She has been accredited with stealing every picture in which
she has ever appeared (even Garbo's "Anna Christie') and
not a single critic has ever writ-
ten one derogatory word about
j • her acting.
in 6 JCirVlS She's the rave of Hollywood.
uM.ay 1 Ca/Z You Marie. asked the V ice-r resident
She is beloved by the greatest
nation-wide celebrities as well as
every studio worker. Perfectly
at ease with swell society and
royalty, she has still kept the
common touch.
All of her triumphs, all of her
great successes culminated re-
cently at the annual banquet of
the Academy of Motion Picture
Arts and Sciences. This organi-
zation which has steadily grown
in power and dignity each year
makes awards, by vote of the
members, which include all the
great of the cinema, for the best
screen performances of stars,
best directorial efforts, etc.
CROWDED into the elabor-
ate dining room were hun-
dreds of film celebrities. At the
speakers' table were Vice-Presi-
dent of the United States Charles
Curtis, his sister Dolly Gann,
Mabel Walker Willebrandt, and
the Governor of California, James
Rolph, Jr. Hollywood fawned a
little sickeningly upon the Vice-
President and that stormy petrel
of Washington, Dolly Gann.
Everybody fawned — everybody
but Marie Dressier, she who was
honored as the actress who had
given the best performance of
the year 1931 — in "Min and
Bill."
She sat at the table, a gracious,
imposing figure in a simple black
lace evening dress. She is not
beautiful — as a matter of fact,
she has never been. But she has
something so much more than
beauty.
When the bronze statuette,
the symbol of the honor the
Academy paid her, was awarded,
Dolly Gann, who queened it over Washington
society, Mabel Willebrandt, the queen of prohibi-
tion, and Marie Dressier, Hollywood's queen, at
the Academy banquet. Vice-President Curtis, in
center, and Lionel Barrymore. Curtis was so
charmed with Marie he never left her side
An old picture of Marie taken at the time when she
was delighting the exclusive circle ruled by Mrs.
Stuyvesant Fish. Marie made the social grade
and was the most popular member of the 400
the dining salon of the Bilt-
more was rocked by applause.
She is loved as no other person
has ever been loved in Holly-
wood.
Charles Curtis was completely
carried away by the charm of
her speech of acceptance — a
speech in which she was clever
enough to hide the sentimental
things she felt. When she sat
down, he said, "I admire you so
greatly, Miss Dressier, do you
mind if I call you Marie? "
The queen turned to him.
"Charlie," she said, with royal
dignity, "you can call me any-
thing you like."
Voted by the Academy of
Motion Picture Arts and Sci-
ences as the greatest woman
actress; voted, unofficially by
Hollywood, as the most beloved
member of the colony; voted,
by the picture public, as the
great panacea for depression;
voted, by society, as the most
charming and witty of dinner
companions; voted, by the stu-
dio workers, as the best scout
who ever stepped on a set — that
is the record of this elderly
woman of humble birth.
OH yes, her birth was humble.
Marie was the daughter of
a simple, home-loving mother
and an itinerant musician father.
They wandered from town to
town seeking a living and an op-
portunity worthy of the father's
talents. There was never any
money — not even enough for a
good education for Marie.
But Marie's mother wanted
her daughter to have real
[ PLEASE TURN TO PAGE 113 ]
I
t's
A L
o n
T>
PP
erar
y
f
By Leonard Hall
WavT
ay
o
But Gloria Swanson's hearts
right there, now that she has an
Irishman for Husband Number
Four ! And Connie Bennett has
Gloria's Marquis de la Falaise
HAVING lived at least thirty-three glamorous lives in
her thirty-three years, Gloria Swanson, as Mrs.
Michael Farmer, is beginning a thirty-fourth!
Yep — our Gloria has now rounded out an interna-
tional quartet of husbands, the handsome young Irish lad
taking his place with an American, a Jewish-American and a
Frenchman in her vivid history.
Gloria Swanson, did I carelessly remark? Fie, and faugh!
She may still be that on the billboards, but let's give her her
full war title — Gloria Swanson Beery Somborn, the Marquise
de la Falaise de la Coudraye Farmer. Try that on your calling
cards!
Moreover, the divorce and new hitching paved the way for
the merry nuptials of Connie Bennett and Gloria's third —
Henri the Marquis — rounding out as tangled a marital muddle-
ment as Hollywood has seen in its long, gaudy history of matri-
monial hits and misses.
Connie, by the way, is doing pretty well herself. Her note-
paper may now read "Constance Bennett Moorehead Plant,
the Marquise de la Falaise de la Coudraye." Not bad!
Thus it has taken eight marriages (including Gloria's two to
Mike) to get these four people sorted out and settled down to
ineffable and everlasting wedded joy. Tell me, darlings, isn't
love beautiful, wonderful and just too divine? Oh, the glories
of romance in moonstruck Movieland!
Still and all, Gloria Swanson, etc., is now Mrs. Michael
Farmer.
""What next for her?
I consult the dream book, look in my pet crystal and say.
"Allagazam!"
First, with the completion of "Tonight or Never," her new
picture, she and Mike will scoot to France for a long, restful
honeymoon.
Second, don't be surprised if Gloria and Michael start right
out to raise a young family. Gloria loves children, and is a
first-rate mother.
Two tips from Prof. Hall, star-gazer, to paste in your topper.
What a wondrous woman, this Gloria of ours!
She can no more keep off Page One than Gandhi, under his
vows, can wear pants! The phrase "movie star,'- with all the
magnificent madness it implies, was invented to fit this girl.
And now she cracks the first page wide open again, with an
off-side marriage to Mr. Farmer last summer, and a legal one in
Yuma, Arizona, on November 9. And the glittering book of
Gloria's life is not half penned, or even dreamed!
Nothing if not ardent, this Swanson child ! How she can take
Connie and Hank, Gloria's
ex-marquis, do everything
according to Hoyle. No secret
weddings for them, so right in
full view of everybody they
appeared at the Los Angeles
marriage license bureau and
swore to tell the truth. But
they didn't want the bad old
photographer to catch them.
Connie gets $30,000 a week
for looking at a camera
it! After three wild swings at the
brass ring of eternal bliss, she made
another snatch and grabbed young
Mike, free, handsome and twenty-
nine.
That pudgy old English phi-
losopher, Samuel Johnson, com-
menting on a new marriage by an
old friend, remarked, "Alas! Another instance of the triumph
of hope over experience!" He might have said it cf Gloria.
She's a chronic hoper in love!
For our amusement and instruction, and for the benefit of
historians who shall come after us, let's run down the star-
spangled record of her amazing, almost incredible life.
We'll do it by spouses.
Number One. Gloria met and married Wallace Beery when
she was just an atom of decoration on the old Essanay lot in
Chicago, and he was a wild Swede comic on the same stage. In
Hollywood, Wally took his little jobs where he found them, and
Gloria donned the one-piece uniform of the famous Mack
Sennett Bathing Girl Brigade — though she couldn't swam a lick
if a sea-serpent were chasing her. Wally, incidentally, is an
American of three generations. This one didn't take, and in
1918 a judge unspliced them.
Number Two. Herbert Somborn, a clever and handsome
young Jewish-American, fell for Gloria like a ton of pig-iron.
Herb was a famous Hollywood beau, then, and the manager of
Clara Kimball Young, at that time the biggest shot in pictures.
But he gave up all the other girls and lit out after Gloria, and in
1919 she yessed him.
Faded into Gloria's limbo of forgotten things are her
first three husbands —Wally Beery, Herb Somborn and
the Marquis de la Falaise. Hubby Number Four is
Michael Farmer, called the "millionaire Irish playboy."
He may not be a millionaire but he's rich in charm
Then began Gloria's Golden
Age. The movies were stark crazy
— money grew on gooseberry
bushes, and under Somborn's
management Swanson got her
share of it. He craftily hiked her
Paramount salary from $350 a
week to 85,000 — and that was
only lipstick money. In 1920 her beloved daughter Gloria II
was born. Then a little boy called Joseph was adopted to keep
the child company.
But ah! The end was beginning! Gloria was no longer a
movie actress — she was a queen. Soon it was heigho! and off
for a Paris divorce, and Herbert faded out of the Swanson close-
ups and long-shots. He is now Wilson Mizner's partner in the
famous Brown Derby restaurants of California, and rich even
in depression days.
Number Three. In 1925, bands blared in New York, and the
royal suite was dusted. Gloria was coming home from France
with a new husband, and a title. He turned out to be the young
Marquis de la Falaise de la Coudraye, a nice boy — not much
money, but a lot of charm. By then Gloria was far smarter
than the men who made pictures! Oh, my yes! She passed up
twenty thousand a week at Paramount — she sniffed at a
million-a-year offer from Fox.
She'd run her own affairs, if you please. So off she swept to
Hollywood, husband, title, court and all. Things were chipper
for a while. Suddenly Henri — or "Hank," as Photoplay
affectionately called him — blew to Paris, and Gloria stayed at
home, making hits and flops, [ please turn to page 98 ]
35
HOLLYWOOD lovebirds are not safe
even in Europe. John Gilbert and Lupe
Velez met in Paris and were having a
grand time until the reporters got after them.
Then they hopped a plane for Cherbourg, and
caught a boat home.
Lupe and John have admitted their affection
for one another, but it all happened so suddenly
that it left Hollywood stunned. Jack had been
billing and cooing with Marjorie King, a
charming young recruit from the New York
statre. when he met Lupe and bang! went the
Gilbert-King romance. He had also been seen
quite often with Ina Claire, whose divorce from
him soon will be final. And just before that it
was the dusky Hawaiian princess.
HTHEX he met Lupe and all bets were off.
•*- Jack and Lupe met in Buster Keaton's
dressing-room in the M-G-M Studio, where
both were working. They knew each other but
slightly. They started a conversation and
within two minutes they were conscious only of
each other. Forgotten were Hawaiian prin-
cesses, ex-wives and beautiful young stage
stars. Lupe mentioned that she was going to
Europe on the completion of her picture. Jack
told her that he had the same idea, and after
that they were inseparable.
When Jack left for Xew York, Lupe went
down to the train to see him off. "Come on
When Gilbert Roland plays tennis,
Norma Talmadge has to sit in the
back spectators' row. It makes Gil-
bert nervous when she watches him.
But at Herbert Brenon's tournament
Gil walked and ran | away with first
prize. Now they're calling him
"Tilden" for short. Note pleased
smile on Norma's face
Dolores Del Rio is a big movie star to you, but she's still "baby" to mama
from Mexico City who spends her time in Hollywood. Mrs. J. L. Anunsolo
doesn't speak much English but she can make almost anybody understand
that Dolores is just a little bit of all right. And you can see, with half an
eye, the vivid resemblance between the two
C a 1 York
and go with me," he said. "It will be a lone-
some trip alone." Lupe boarded the train and
wired her maid to send her trunks. Jack lit out
for Europe as soon as he reached Xew York.
Lupe followed in about a week.
A XD what about her "Garee"? Well, after
■* Mhe bustup between Lupe and Gary
Cooper in Hollywood. Gary came to Xew York
to make a picture in the Eastern Paramount
Studio. It was his first long visit to Xew York
and he became quite a social attraction. He
and Tallulah Bankhead were seen in the night
spots together. Then, suddenly, Gary sailed
out for Europe. He has not been at all well and
there was a suggestion that his lungs were
affected. He didn't tell his bosses at the Para-
mount Studio until he had sailed.
On the same boat that Gary took to Italy
was the Countess di Frasso, whom Gary had
been seen escorting around Xew York.
Once he was having dinner in a Xew York
restaurant when Lupe and Jack Gilbert ar-
rived. Jack went over to talk with Gary, but
Lupe didn't look in his direction. Pretty soon
Gary left the restaurant.
I am not good at figuring these things out.
but to my misty old eyes it looks as if Gary is
still crazy about his little Mexican tamale.
But, for the present. Lupe can't see anybody —
well, not this month, anyhow — except Jack
Gilbert.
International
Portrait of a family man. On papa Lloyd's lap is Harold, Jr., who didn't
weigh three pounds at birth but now, at nine months, is a blase gent of
sixteen pounds. Peggy deft) is the adopted child, Gloria (right) the
Lloyds' own daughter. Mama Mildred is behind the camera standing
on her head to make baby smile. Pooh! —he's used to those old gags
1 he Monthly .Broadcast
of
Hollywood
Goings-On/
V/TARY PICK FORD is going through one of
the most trying periods of her life. She
hangs on to stardom and is trying to find a
picture in which she can make a comeback,
while Doug and his pals have hit out for
Manchuria, Siberia, the Gobi Desert and other
remote points of the world. His first travel-
ogue was such a success that it looks as though
Doug were in for a life of globe-trotting, with
Mary as a lonely travel widow in the enlarged
and renovated Pickfair.
Any talk of legal separation is idle chatter.
While the hot flush of romance is over, they
have become something more stable than
lovers — good friends.
Mary doesn't care for globe-trotting and
Doug, having found a new outlet for his ener-
gies, can't stay put. Golf widows shouldn't
complain. Their husbands come home at least
once a week, but Doug is off for six months or a
year.
HEADLINE in a Los Angeles daily
paper: Marquis Looks
Doomed To Early Trip To Altar
and his wife,
up it brought
WHEN" Lowell Sherman
Helene Costello. broke
about a reconciliation between Helene and her
sister Dolores (Mrs. John Barrymore). The
sisters had not visited or even spoken for a long
time. John Barrymore doesn't like Lowell
Sherman and the feeling is very much re-
ciprocated. Until a few days ago Helene had
not even seen her sister's baby, but since the
separation the two girls have been inseparable.
"D UDY YALLEE spends all his spare time
■^listening to his rival crooners. One week he
was seen in the Paramount Theater in New
York three times, listening to Bing Crosby.
Bing threatens to steal Rudy's laurels. They
mobbed the theater when he appeared in New
York, and the crowd was so unmanageable
that several women fainted.
•"THEY'VE got her name in electric lights,
■*■ she's responsible for a new hair fad, she's
been one of the quickest successes in Holly-
wood, she means box-office and she gets only
S350 a week.
Jean Harlow. We don't blame her for
feeling sore.
HOWARD ("HELL'S ANGELS")
HUGHES told a friend that he
was thinking of quitting the motion
pictures.
"I wouldn't do that," said his
friend. "There's a lot of money in
it."
"Yes, mine," answered Mr.
Hughes.
Wide World
He can't get over that overhand
stroke! This lad with the Goddess of
Liberty attitude is Johnny Weissmul-
ler, world's champion swimmer. And
he's been persuaded (with a nice fat
check) to play the name role in "Tar-
zan." Yes, that's his only costume
in this picture and winter is winter,
even in Hollywood
37
International
M
am
age
International
The Joy girl and business man William Hook said
those old vows. And that's the best deal he ever
put over. Leatrice says being a Good Wife is her
favorite role from now on and she's through with
movies. She used to be Mrs. Jack Gilbert
Love?
"Ooh, I like heem ver' much," says Lily Damita
about playboy Sidney Smith, "but he work in
New York, I work in Hollywood. How we
marry, hein?" So they give up work and play on
California's beaches. A handsome couple, yes?
for such a title at
the banquet of the
Academy of Motion
Picture Arts and
Sciences when, dur-
ing the long speeches,
he went to sleep on
the shoulder of Marie
Dressier.
A T a luncheon given to visiting newspaper
■*■ ^-publishers, at one of the Hollywood studios,
an unassuming, unaffected and very pretty
young lady sat between two of the visitors.
She had on no make-up, not even rouge.
" Must be the daughter of some country pub-
lisher. 1 bet she's getting a kick out of these
stars," said one of the reporters.
A lew minutes later Conrad Nagel intro-
duced the unassuming young lady. Miss
Dorothy Jordan arose and took a bow.
A S told on another page of this magazine,
■* *Jackie Cooper wants to be a "man about
town." Hut he was absolutely unqualified
HP HE economy wave has hit the Paramount
Studio so hard that they are making over
George Bancroft's underwear to lit Arthur
Pierson. It's a suit of heavy rubber under-
wear, such as is worn by actors when, for
picture purposes, they have to work in icy
water. When the rubber underwear suit was
cut down, it had to be vulcanized to make it
waterproof. Pierson uses it in water scenes for
"XoOne Man."
"P^LECTRIC light sign on the mar-
-"quee of the Mayfair Theater in
New York reads — ARE THESE OUR
Children By Wesley Ruggles.
DAMON" NOVARRO admitted in court the
other day that he had had a little drink.
Novarro and his secretary-chauffeur, Frank
Hansen, were being sued for an auto crash.
•"THEY say that Jetta Goudal held up produc-
•*■ tion on the Will Rogers picture until she
got a piece of blue velvet ribbon that suited her
artistic temperament.
/^\XE of the happiest, most companionable
^-^Hollywood couples that have visited New
York for a long time is Joan Crawford and
Douglas Fairbanks, Jr. They were glad to get
away from the studio city. Probably no mar-
riage has had a harder time than theirs, in the
maelstrom of Holh-wood gossip.
One gossip-monger printed a story about
Doug driving a lady to the beach and said he
went at reckless speed because he didn't want
to be recognized. The fact is that Doug has a
black and silver car that's so conspicuous that
you could recognize it a mile off. The lady was
Rose Hobart and they were driving to the
beach to meet Joan.
38
Internationa]
Divorce!
Another romance bit the dust
when the judge handed Irene
Rich that fatal paper. She and
hubby David Blankenhorn hadn't
been happy for a long time
'"THE gossipers also said that young Doug and
■*• Clifton Webb and Hope Williams were
always out together, and where was Joan?
Joan had been working hard on "Possessed,"
and never left the set before 9 P. M. Once when
Doug broke an engagement for both of them
during that time the catty hostess said, "Too
bad Doug can't tie his shoe laces without Joan.
Other Hollywood husbands go to parties when
their wives are working."
That's Hollywood. At least they will be
free of such romance-busting gossip in New
York, where they can sit in a theater and hold
hands without someone saying they are putting
on an act.
Y\ THEN Corinne Griffith was working in
W pictures out in Hollywood, Walter
Morosco, her husband, managed all her busi-
ness affairs. Now Walter is running the Para-
mount Studios in London and doing a good job
of it, while Corinne is merely the Wife Depart-
ment.
T7VEN in Hollywood few people know that
"'-'Robert Williams was really responsible for
his own death. Although his physicians
warned him that he had an acute appendicitis
and that he should be operated on immedi-
ately, he refused until the appendix broke and
death was almost inevitable.
Photoplay credited him one of the best per-
Laughter!
International
Whoops and a couple of goody-
goodees! This is the way Joan
Bennett looked when she arrived
in New York with her painful
hospital experience behind her
formances of the month in the December issue
for his work in "Platinum Blonde." His work
in "Devotion," and "Rebound," had already
assured him of a firm place in the film firma-
ment. He was scheduled to play the lead in
Connie Bennett's "Lady With a Past." No
film newcomer had made such rapid strides.
Williams ran away from a farm when he was
ten years old to join a band of tent show
troupers. He later became one of Broadway's
favorite juveniles. And then the movies1—
where he was, for the few short months he
spent in Hollywood, in constant demand.
'"TWELVE years ago a little lad was hanging
■*■ round his father's studio in Fort Lee, New
Jersey, and, poking his nose into every phase of
production from scene building to film printing,
made himself a general nuisance. A director
who was working in that studio told me at that
time, "I have never seen such a kid in my life.
His curiosity about everything connected with
pictures is absolutely insatiable."
He is young David Selznick, son of Lewis J.
Selznick, who at that time was a film mogul.
David was always accompanied, in the snoop-
ing about the studio, by his brother, Myron,
who was equally curious. Selznick pcre is now
retired and David has just been appointed the
producing czar of the RKO Studios.
Myron is making a slim half million dollars a
year as the top motion picture agent in Holly-
wood.
Curiosity didn't kill them.
T TOT.LVWOOD divorces for the past year
■*- ■'•were twenty-five per cent under the pre-
vious year. The depression is blamed.
Tears!
A success with only three pic-
tures! His biggest break was
being Connie Bennett's leading
man. But Robert Williams died
before he played the role
"L_TERE is an odd one. Mrs. Jesse Crawford,
•*■ Athe famous motion picture theater organ-
ist, has her gowns designed so that they look
better from the back than from the front. She
faces the audience only for one moment when she
takes a bow following her performance.
•THE newspapers recently reported the death
■*■ of Norma Phillips who, fourteen years ago,
was known as "The Mutual Girl." She was
starred in a series of one-reel subjects and at
that time became quite famous. She was
thirty-eight when she died penniless, and was
buried by the actors' fund.
""THE most dignified divorce in Hollywood
was that gotten by the Lawrence Tibbetts.
No mud throwing, no family skeletons ex-
posed; just an agreement between a lady and a
gentleman who agreed to disagree. The only
quarreling which took place was between their
mutual friends, trying to decide which was in
the right — Grace or Lawrence.
At this writing, Grace is devoting her time to
their two handsome boys and Lawrence is on a
concert tour, with rumors floating about that a
second marriage is in the offing for him, to a
charming lady in San Francisco.
"LJERE^s the biggest heart-throb news of
■*• -*-the month — Billie Dove and millionaire-
boy-producer Howard Hughes have played
romantic reconciliation scene! Everybody
thought Dorothy Jordan was Howard's love
interest and then he arrived at Hollywood's
first Mayfair party of the season squiring
Billie Dove. To take a girl to the Mayfair is
a public announcement.
Funny part was it must have been a last
minute idea for they'd not called for reserva-
tions. Gasping waiters made room for them
while all the gossip hounds buzzed and buzzed
and buzzed!
[ PLEASE TURN TO PAGE 84 ]
2 39
A
h
! T
hat
P
ol
a
!
"Gumpsy" (see story) and Pola understand each other. "She
blows up, but she always comes down again," says "Gumpsy,"
who is holding her make-up box while Pola gets ready for a
scene in "The Woman Commands"
POLA NEGRI has come back with a brand-new figure, a
pet alligator, and a new act that — well, really, it has any
of Pola's past performances beat a mile.
She's gone humble. She says so herself. But, and here's
the catch, not only is Pola humble, she is intellectual.
My gosh, how intellectual! It's gorgeous.
She departed our midst with a brand-new (now secon J-hand)
prince, an expired contract (not renewed) and muttered threats
that "in Poland we kill."
In Hollywood she kills, too. She's killing them right and
Left. She talks at length on the secrets of French diplomacy,
America's cultural future and Gandhi's past. The rise of
( )riental philosophy and the fall of Susan Lenox. You have
never heard anything like it.
Neither did Hollywood.
They sit back in wide-eyed bewilderment and chew their
raspberry finger nails and wonder why in the , what I mean
is, they wonder why they didn't think of it first.
And as if being humble and intellectual weren't enough, she
comes back with a new and gorgeous beauty that — well, you
wouldn't believe me.
Slender, with a beautifully rounded figure. No lines. No
seams. All the heaviness of face, figure and emotions are gone.
Departed. No darkened eyelids, no frizzled locks.
Her hair, black as a winter's night, springs back from a low,
broad forehead. Creamy white. Her eyes, which by every rule
of nature should be blazing black or sirenish green, are a laugh-
ing, twinkling gray.
But her eyes are not the only contradiction about Pola. Pola,
Hollywood was go-
ing flat. Then, back
came La Negri and
livened up the town
By
Sara Hamilton
all of her, is an entire and deliberate
contradiction. You think now, at
last, you have her placed. She is so
and so. Only to discover she is nothing
of the kind.
Exotic in appearance, you expect
pet tigers and heavily scented couches.
There are no tigers. Not even a
guinea pig. Even the alligator was
given to her by the American Legion
boys. She sits primly on the edge of
her chair and talks freely. No question too trivial to answer.
So that's it? Meek, you think. You have another think.
For in two minutes' time she can, and probably will, stage a
scene that would curl your hair. And stage it as only Pola can
stage it.
She's a grand scene stager. The best, in fact. She says so
herself.
SHE held a baby in one sequence of her new picture "A
Woman Commands," and just as they were about to start the
scene the baby, worn out with delay, began to cry. Long and
lustily it cried. Whereupon Pola sat down on the nearest prop
chair and wept with sympathy. The crying baby in her arms.
And the maid, beholding the weeping Pola, promptly burst into
tears.
Director Stein was flabbergasted.
He marched into the middle of things.
"What iss dis?" he demanded.
"It's crying," Pola wept. " Can't you see it?"
" But why iss it? " the bewildered director asked. " Why iss
all dis crying? "
That was enough.
The battle was on. Amidst the howls of the baby and the
frightened hush of the crew, they stormed and raged.
"Don't vou veil like diss at me," the director finally screamed.
"I will yell all I want to," shrieked Pola, and off the set she
stamped.
One minute, two minutes, three minutes of precious time
went by. There was complete [ please turn to page 100 ]
40
Harold Dean Carsey
"D ACK to Hollywood, leaving behind her Prince, her accent and her tempestuous moods,
-'-'Pola Negri is a revelation to her old friends — and enemies. Now everyone seeks in-
vitations to her beach house, where she serves hot dog lunches and mimics the Pola who
used to storm through the Paramount Studio
vJpening 1 he
Hollywood
eason
WHOOPS! Here they are starting
off the indoor winter sports with
a blinding glare of jewels, sparkling
eyes, new gowns and starched shirts.
It's the opening of the Mayfair, the
most exclusive club of Cinema City.
Just try to get in if you're merely a
banker or a senator. Photoplay's
demon photographer waltzed around
with his cute little camera and see
what he brings you. How many of
the 6lite can you identify? Turn to
page 108 for the ones you miss on.
Elmer Fryer
T)ORTRAIT of a German young lady who wants a private life right in the middle of a
-*■ Hollywood studio. There's really nothing for Lil Dagover to conceal. All she wants
to do is walk barefoot in the grass, converse with friends and listen to music. But she wants
no prying eyes to watch her. Her first Warner film is "The Woman From Monte Carlo"
When she arrived in
Hollywood with the
"Act of God" baby
Charlie met her at
the train, but the
studio moguls had
never heard of her.
On the right, a scene
from "The Sin of
Madelon Claudet,"in
which she proved
herself one of the
greatest movie ac-
tresses of all time
r r
C
harl
le
IV A a c -Tjl
th
ur s
Wu
r> ?
f
e
tor.
WHEN she first came
to Hollywood she
was known as
"Charlie Mac-
Arthur's wife."
You see, Charlie MacArthur
was a big shot.
He was a writer.
He was called into conferences
and had his opinion asked and
did a number of important things. He was a famous New York
playwright. More than that, he was a famous Hollywood
dialogue writer.
Charlie went to parties and said amusing things and was
known all over town. His wife, it was learned, was a stage
actress.
She had never worked in pictures so when she came to
Hollywood she was introduced everywhere as " Charlie Mac-
Arthur's wife."
Well, Charlie MacArthur's wife thought it would be grand if
she could act before the camera, so she secured an agent who
took her to one of the casting men at M-G-M. She made a
fatal mistake. Instead of being announced as Charlie Mac-
Arthur's wife she said simply that she was Helen Hayes. You
see, that's the name she uses on the stage.
The casting man was bewildered. In the first place, she
didn't look like an actress, for her hair was not sleek and her
clothes were dark and simple. So, speaking of her as if she
weren't there, he addressed her agent, "What does the little
lady do?"
"She's a New York actress. She's playing on the stage in
Los Angeles now," he replied.
"Mmmm, mmmm," mmmmed the casting man. "What's
she playing in?"
" 'Coquette,' " said the agent.
" Mmmm, mmmm, ' Coquette,' eh? What sort of parts does
she play? I mean what's her type?"
The agent tried to explain, but without much success. So
the casting man, who liked the agent, although his respect for
him was waning, said, "Well,
leave the little lady's name and
address and if anything comes
up that she might fit into I'll
?What does the little lady
do?" asked the casting direc-
She showed them
give her a ring." And the inter-
view was closed. Looked like
the studio doors were, too.
And that was Helen Hayes'
first experience professionally in
Hollywood. Helen Haves, "the
little lady," "Charlie Mac-
Arthur's wife," is the same Helen
Hayes whose first picture, "The
Sin of Madelon Claudet," is
packing them into the theaters and making them weep into all
their handkerchiefs — extra as well as regular.
She's the same Helen Hayes who has been one of the greatest
stars on Broadway since she was sixteen; the Helen Hayes who
stepped into Maude Adams' great role in " What Every Woman
Knows," who plays a Barrie heroine with all the sure charm
that the writer intended; the Helen Hayes who is one of the
great stars of which the theater may still boast; the Helen
Hayes around whom theatrical tradition flutters like extra girls
around an assistant director; the Helen Hayes of the long-run,
sensational Broadway show "Coquette"; the Helen Hayes of
Shaw's "Caesar and Cleopatra."
Helen Hayes — why the name is one over which theater lovers
bow their heads in a few moments of silent prayer. Helen
Hayes, the great artiste.
B
By Katherine Albert
UT in the West it's only what you do in Hollywood or what
somebody tells you that means anything. And that's why
she received such a cool reception in the casting office. Later,
when somebody told somebody that Helen Hayes was a great
name and a great artiste, and when Edgar Selwyn had been
signed to direct a picture and said she was the only person able
to do the story he had in mind, Helen recalled the casting
office incident to Irving Thalberg.
It was just at the time when she and Thalberg were discussing
her salary — the studio finally managed to get her at an aston-
ishingly large figure. Thalberg didn't think it was funny right
then.
The strange part was that when she was in Los Angeles in
" Coquette" she wanted to work
in pictures. But she made the
mistake of making an effort.
[please turn to page 100 ]
45
Select Your Pictures and You Won't
*
POSSESSED— M-G-M
CLARK GABLE, the suave, worldly politician; Joan
Crawford, the girl who comes to the big city to win love,
wear beautiful clothes, sparkle with jewels and get very,
very dramatic; lots of luxury; lots of charm; lots of smooth
talk about courage and marriage and what women want —
that's "Possessed," and you really don't care if the story
is old and some of the lines a little shopworn. For the
Gable boy and the Crawford girl make you believe it.
Skeets Gallagher is the not-too-funny comic and WaUace
Smith plays the small town lad convincingly. It's the best
work Joan Crawford has done since '"Paid," and Clark
Gable — he's everybody's big moment. If Joan weren't so
good, he'd have the picture. You'll like this. But while
you're seeing it the kids should be doing their homework.
*
OVER THE HILL— Fox
THIS is Mae Marsh's triumphant return to pictures and
she thought everybody had forgotten her. She won't
think that for long, because all that Marsh charm and
winsomeness has not been mislaid during her ten years'
absence from the screen. As the self-sacrificing, under-
standing mother, who is unwanted by her grown-up
children, she plays close to your heart.
the story has been modernized somewhat. (Of course,
you remember the silent version with Mary Carr.) But all
the pathos has been left in. James Dunn plays the son
superbly and Sally Eilers is his sweetheart, and they didn't
do better work than this in "Bad Girl."
Don't miss the Marsh comeback.
16
The
Shadow
A Review of the Neiv Pictures
*
AROUND THE WORLD L\ EIGHTY MISUTES-
United Artists
DOUG FAIRBANKS is a smart guy. He went on a
pleasure trip, had a lot of fun, and now he's making it
pay him in cash. For he took a camera along with him
and this picture is the result.
For the sheer novelty that picturegoers have been crying
for, this film deserves all the praise adjectives. There have
been travel films innumerable, but never before one which
includes the rare laughs, the trick gags, the clever stunts
that Fairbanks has sprinkled so generously throughout
the camera-story of his wanderings. It is just these things
which make this so decidedly worth viewing.
Doug himself is in many of the scenes and you'll like that
grin better than you ever have before. He keeps up a
running fire monologue throughout the piece; discovers
that the fox trot was originated in Siam and feeds peanuts
to King Prajadipok's white elephant.
It would be unfair to tell too much about the things
Doug has in his picture. But this we can tell — there are
laughs, thrills, magic and camera tricks that outdo even
"The Thief of Bagdad."
Have to Complain About the Bad Ones
The Best Pictures of the Month
AROUND THE WORLD IN EIGHTY MINUTES
ARROWSMITH POSSESSED OVER THE HILL
TONIGHT OR NEVER FRANKENSTEIN
TOUCHDOWN HELL DIVERS FLYING HIGH
The Best Performances of the Month
Ronald Colman in "Arrowsmith"
Helen Hayes in "Arrowsmith"
Richard Bennett in "Arrowsmith"
Joan Crawford in "Possessed"
Clark Gable in "Possessed"
Mae Marsh in "Over the Hill"
James Dunn in "Over the Hill"
Gloria Swanson in "Tonight or Never"
Melvyn Douglas in "Tonight or Never"
Boris Karloff in "Frankenstein"
Colin Clive in "Frankenstein"
Wallace Beery in "Hell Divers"
Clark Gable in "Hell Divers"
Walter Huston in "A House Divided"
Tallulah Bankhead in "The Cheat"
John Breeden in "The False Madonna"
Casts of all photoplays reviewed will be found on page 116
*
ARROWSMITH— United Artists
IF author Sinclair Lewis finds fault with this (as Dreiser
did with "An American Tragedy") he should be sent to
bed without his supper. For everything that was in the
book is here — the drama of the doctor-scientist who risks
his life and happiness so that others might live.
Ronald Colman is poised as usual, but he's more than
that. For once he has a chance to show of what actor stuff
he's made. And it's all wool and a yard wide. He simply
is Dr. Arrowsmith.
No one could have done the tender, faithful wife who
makes terrific sacrifices for the doctor's humanitarian career
better than little Helen Hayes. These two — Colman and
Hayes — are the ideal pair for this film. And, in case that
isn't enough in the acting line, there's the old master
Richard Bennett who makes a great Sondelius. He and
A. E. Anson turn in two of the finest character performances
you'll see this season.
To producer Sam Goldwyn, director John Ford, and
adapter Sidney Howard go leafy laurel wreaths for their
respective brows. Perhaps you'll say there's too much
dialogue, but convincing locales make up for it.
*
TONIGHT OR NEVER— United Artists
WELL, this is one of the most difficult pictures Photo-
play has ever tried to review. It's beautifully direc-
ted, acted and produced. Neither director Mervyn LeRoy
nor star Gloria Swanson has ever done better. As for new-
comer Melvyn Douglas (from the stage), he'll give Clark
Gable a few anxious moments. This new lad has sex-appeal,
too. The story is clever and the dialogue dynamic.
Why difficult, then? Because it's the hottest picture yet
screened. It sizzles and burns. It's SEX in capital letters.
Sophisticates will eat it up, but old-fashioned family folks
may be shocked. For Gloria and Melvyn are more frankly
seductive than ever were Garbo and Jack Gilbert. This
is recommended for people who like snappy lines, snappy
situations and snappy love scenes.
*
FRANKENSTEIN— Universal
IF you like mystery and spooky pictures, here's your
meat. It's strong stuff, and not for faint-hearted folks.
It introduces a successor to the late Lon Chaney, who out-
horrors anything Chaney ever gave us.
The opening scene is a funeral. A mad surgical genius
creates a monster and, no matter how well you know the
story, to watch that mechanical man come alive is a
breath-taking, sensational experience you won't forget.
Boris Karloff plays the monster. During the making of
the picture he lost twenty-one pounds. You won't wonder
when you see him. He's great, as is Colin Clive as Franken-
stein. The direction and photography are magnificent.
And, whether you like it or not, you'll be held spell-bound.
47
Here's Your Monthly Shopping List!
*
TOUCH-
DOWN—
Paramount
*
HELL
D1YERS-
M-G-M
AT last a new angle on college football! A handsome but
over-ambitious coach is the hero in this one — not the
flashy halfback making the last minute touchdown — and
you'll get some inside stuff on crooked football. Richard
Arlen, as the coach, is excellent, while Jack Oakie, as his
wisecracking pal, does his best work. Peggy Shannon hasn't
much to do. See it.
THE combination of Wallace Beery. Clark Gable and the
United States Naval Air Forces results in grade-A enter-
tainment. Although it's peacetime aviation, the flying
acrobats are all there. And neither Gable nor Beery, as
friendly enemies, has ever been better. The romance is
secondary. The real kick of the picture is the sacrifice of one
man for his pals. Those scenes will get you.
*
FLYING
HIGH—
M-G-M
HER
MAJESTY,
LOVE—
First National
THIS snappy picture proves that producers have learned
how to use music — sparingly and appropriately — and they
haven't allowed dancing and vocal numbers to interfere with
an otherwise rapid-fire, knock-'em down and drag-'em out
comedy plot. Bert Lahr and lanky Charlotte Greenwood are
a comedy team second to none in talkies. The fast and
furious chorus numbers are presented from weird angles.
IF all barmaids were as lovely as Marilyn Miller, Volstead
wouldn't have a chance. But she's one of the musical
comedy variety that never existed — tossing off songs between
every glass of beer. Her dancing is okay, too. Ben Lyon
is the heavy love interest and some of the best comedians in
Hollywood make you chuckle. This is light but pleasantly
entertaining.
THE FALSE
MADONNA—
Paramount
PEACH
O'RENO
Radio
Pictures
THIS is pretty melo melodrama, without a single laugh to
lighten the action, but it hits your heart just the same.
Kay Francis poses as the mother of a rich blind boy, to swindle
him. His helplessness, however, awakens her better nature and
sends her along the straight and narrow path. John Breeden,
a new lad. almost steals the show from the other competent
actors. He's great.
45
T
HOSE nut comedians— Bert Wheeler and Robert Woolsey
are at it again. This time they do all their funny
business in Reno's fashionable divorce colony. It's an absurd
plot concoction and although the story is weak on romance
it's long on laughs. Peppy Zelma O'Neal comes close to steal-
ing the picture from right under Woolsey's cigar. Dorothy
Lee is as cute and pretty as ever.
The First and Best Talkie Reviews!
CORSAIR—
United
Artists
MEN IN
HER LIFE
Columbia
THERE is neither freshness nor much action in this. Chester
Morris plays a rum-runner, determined to show up the
hypocrisy of his girl's father. The dad is a bootlegger, but
poses as being respectable. Familiar gangster activities are
transferred to a marine setting, without improvement. Beauti-
ful Alison Lloyd (you know her as Thelma Todd) supports.
Recommended onlv for ardent Morris fans.
IT'S an old story, but ingeniously worked out. And the
dialogue has a good crackling quality. Rich young girl is
saved from embarrassing situation with bogus count by rough
and ready American. Lois Moran (it seems only yesterday
she was doing kid parts) gives a sincere, adult performance,
while bad man Charles Bickford has never done better in his
movie life.
THE CHEAT
— Paramount
A HOUSE
DIVIDED-
Universal
THAT Bankhead girl has done it this time. She clicks in a
big way. Sure, the story is hokum, about a villain with
Oriental ideas (that's Irving Pichel), and a woman who takes
money with which to speculate. But you're entertained and
interested in spite of yourself because of excellent direction
and great acting. Tallulah is sincere and dramatic. This
film shows what she can do.
THIS is life and love in the raw, with Walter Huston as a
hard-boiled sea captain whose mail-order bride abhors his
cruelty and vulgarity and falls in love with his handsome son.
There's a terrific battle between father and son. What a
situation! Helen Chandler and Kent Douglass are excellent
as the boy and girl, but it is Huston's performance you won't
forget.
THE
YELLOW
ticket-
Fox
HIS
WOMAN—
Paramount
IF you thought they weren't doing that sort of thing any
more (villain locks beautiful girl in bedroom where she
fights for the same old honor), take a look at this. It's the
moth-eaten melodrama dressed up in new clothes with Elissa
Landi, who should have better stories, and Lionel Barrvmore
making his ridiculous role seem believable. They make a
picture worth seeing.
A BABY with a lusty yell and a total lack of screen con-
sciousness steals this picture. Unfortunately for Gary
Cooper and Claudette Colbert, their fine talents are rather
wasted on a slow moving and trite story. Gary is captain of
a freighter. Claudette vividly plays the role of a tarnished
lady redeemed through love. Old stuff. Some fine photog-
raphy, however. [ additional reviews ox page 94 ]
49
Villainous Jean
Hersholt gets a
wicked glint in his
eye every time he
sees a paint brush.
Adolphe Menjou
can't leave those
first editions alone
and Eddie Robinson
is positively mad
about Wagner. It's
all pretty depressing
l II. I SI l: A l h l> li 1
VAN ARSDALE
L
AST Tuesday — no. it was Thursday —
no, a week from last Monday — . Well,
A
'It's men I want, Newy!
What do you think I'm
/anyhow!
A few days ago our Aunt Hermione
arrived in Hollywood from Oklahoma. We
hadn't seen the dear, white-haired old lady
for years. We embraced her joyfully.
"Why Auntie! What fun you're going to
have," we exclaimed. "Old Mrs. Smith across the street is
having her eightieth birthday party today, and she'll love to
have you come. And our next-door neighbor, Airs. Tiffits,
has just won a knitting contest. You'll have a wonderful
time with her."
"Knits!" replied Auntie, sniffing.
I low about a match there, kid?
holding this cigarette for?"
"Men?" we asked, in a faint voice.
"Sure! Wild men! Had men! I been seein' a lot of these
here movie pitchers lately and, boy hdwdy, they sure got some
tough lads in 'em. Villains is what I come out West here for.
Men as is men!"
Auntie has a mind of her own, and before we knew it we
found ourselves, with a list of all the movie "heavies" of our
acquaintance, climbing into our car with Auntie herself.
(ieorge Bancroft lives almost next door to us, in Bel-Air,
and we took a peek into his yard as we drove past.
We caught a glimpse of George. He was down on his
I u-es with a pruning shears, trimming a rose-bush. He is
helping with the landscaping of his new home. We speeded
i i. \\ here to go? Let's see — George works at Paramount,
how about the other villains at that studio? It couldn't be
William Boyd. William, we knew, collects antiques; his
c< Uection of pewter and milk-glass is the envy of connoisseurs
all over the country.
II '■■' about I red Kohler, then, Bancroft's old slugging-
partner in "Underworld," and a tough guy in general on the
screen? We could drive out to his ranch in the San Fernando
Valley. But we knew just what we'd find there. Fred would
be [letting a stray horse he had found, or bandaging the sore foot
of a pup picked up somewhere. Fred raises Pekingese pups,
too. That somehow didn't sound hard-boiled. Nope —
Swinging the car around, we headed for Metro- Gold wyn-
Mayer. Arriving there, we asked right off the bat for Wally
50
W;
untie Wanted
Beery. It would be hard to find a gentler soul than Wally,
but maybe he would put on a little growling and cursing for
Auntie, we figured.
"Mr. Beery telephoned us he's going to stay home today."
came the answer. "He's tying some trout flies."
"Humph!" snorted Aunt Hermione, with a furious swish
of her feather boa.
"Now, now. Auntie." we placated the dear old lady. Try-
ing again, we asked, "How about Ernest Torrence?"
"Mr. Torrence isn't here either today. He's visiting John
McCormack.
"Mr. AlcCormack is singing two of Ernest's compositions
this season, you know, in his concerts."
Auntie stomped her high buttoned shoe. "Ernest Tor-
rence writes tunes? Don't tell me! Didn't I see him with
my own eyes, getting drunk and shooting Indians in that
pitcher with all the covered wagons in it? Don't tell me,
young man!"
"Now, Auntie, please—," we begged her, mopping our
forehead.
"Well, how about that Frenchy feller, with the cute leetle
moustache?" she demanded. "He works here, don't he?"
"Adolphe Menjou?"
"That's the bimbo! Lead me to him. He may not be so
tough, but he sure is wicked enough to warm the heart of a
lonely girl like me!"
WE gulped. Auntie was carrying a six-gun in her muff
and we didn't dare tell her that, unless Adolphe was
working, he was bound to be up in the studio library. Suave
and dangerous he may be on the screen but, with his make-
up off Adolphe is a collector of first editions!
Hastily we thought of substituting Jean Hersholt, the beast
who tried to drive Ramon Xovarro to suicide in "Daybreak."
Then we recalled that Jean is a bookworm, too. And when
Aunt Hermione,
aged seventy-two,
goes to Hollywood
hunting wild par-
ties and wild men
By
Jack Jamison
'Em BAD
he's not with his books, Jean is painting delicate landscapes.
Worse and more of it!
Lionel Barrymore? Lionel's hobby is the most fragile
of all art work, etching. He was out of the question. Etchings
wouldn't look villainous to Aunt Hermione. So was Lewis
Stone out of the question — rancher, penny-ante player, and
fatherly advisor to those in trouble. What could we do?
We had an idea. "Oh, you don't want to waste your time,
Auntie," we said, with our most engaging smile. "There's a
man in Hollywood who's twice as wicked as Menjou."
"The heck you say!" exclaimed the dear old lady, all
smiles, as she playfully nudged us in the ribs with her umbrella.
"Attababy! Lead the way!"
SO we drove Auntie to John Miljan's home. We left her
outside for a moment. Rushing into the house, we found John
just where we expected to — where George Bancroft had been.
He was on his knees in the garden, transplanting a rare tulip
bulb. "Listen, John, do us a favor, will you?" we gasped.
"Hurry upstairs and put on some morning clothes. It's a
matter of life and death. When you come downstairs, be
looking wicked — as wicked as vou can look!"
"But this bulb—"
"We'll bulb you a new bulb!" we panted. "Hurry, please."
We got Aunt Hermione into the house and sat her down
in an easy chair by the fireplace. After a few minutes John
came down, dressed to kill and sneering so that chills ran up
and down our backs. How Auntie perked up! She winked at
him and began to giggle. As the two of them chatted we went
out into the kitchen to ask the cook for gin. She didn't have
any. John doesn't drink. We were halfway back to the draw-
ing-room when we heard a yell of rage from Auntie Hermione.
"Nevvy! Come back here! Take me out of this joint!"
"\\ hy Auntie, what on earth is the matter?" we asked,
hurrying in. "Did he hurt you?"
"You know what this wicked, dangerous man here is
trying to talk to me about?" she demanded. "I sit
down and get all set and do you know what he asks me,
the mugg? He asks me if I love canaiits! He has
seventy-two canaries, he tells me! Canaries! Whoops!
A lot I care about canaries! They're just a pain in the
ear to me. Get me out of here, Nevvy, before I do
something I'm liable to be sorry for!"
Perspiring, we got Auntie into the car again. What to do?
We had introduced her to the screen's best-known and hardest-
souled villains, whose leers and scowls have made even Eskimos
shiver, and not one had clicked. Maybe Auntie wanted
scoundrels of a more modern sort.
Gangsters! An inspiration! Edward G. Robinson and
Jimmie Cagney! We tried their names on Auntie and her
grin stretched from Atlantic to Pacific.
Robinson was at First National in Burbank, working.
"Come on the set and watch this scene," he suggested politely,
"and then we'll have tea together. Or would you rather come
to my dressing-bungalow now?"
Auntie gave us a savage kick on the shin and whispered,
"Bungalow," in cur ear.
"That will be nice!" smiled Mr. Robinson. "You can
hear my Wagner phonograph records. You know7, I could
scarcely live without my music."
Well, we're only glad the twenty records Auntie broke
over our heads were not Wagner! Wagner is too heavy!
Hurriedly we asked someone if James Cagney was in his
dressing-room. He was. As we reached it, we heard sounds
of scuffling feet inside. Auntie brightened.
"A fight!" she cried, joyfully.
"You wait outside," we ordered her, and went in cautiously.
But it wasn't a fight. The scuffling was Jimmie and his wi;"e
practicing new dance steps. And we didn't tell Auntie what
Jimmie said to us — "This is our favorite recreation, you know,
when we aren't playing croquet." Oh, no, we didn't tell
Auntie. Instead, we n'pped open our collar, mussed up our
hair and staggered out of the house panting, "It's too terrible
for mortal eyes to see!" Pushing Auntie back into the ca",
out of which she was trying to scramble, we went on: "Blood!
Nothing but blood all over the floor. Let's get away while
we can."
We can't describe the dear old [ please turn to page 99 ]
51
Dee 1 h
ESE
L
C
atest v^hanel
ANOTHER Ul'j. fashion "scoop" for PHOTOPLAY !
Once again we are able to give yon an ex-
clusive preview of the Chanel-designed clothes
that you will see Gloria Swanson wear in "To-
night or Never." And, according to our review-
ers, Samuel Goldwyn has made a picture worthy
of the clothes.
Look at those wing-like draperies ! Who but Chanel would add
them to a black velvet evening gown? Who but Gloria could
wear them so smartly? Both front and back decolletages are
tricky. Those are jeweled clips on the shoulder. Note the
straighter line, too
Chanel goes in
for sleeves in a
big way, it
seems. Huge
muffs of fur match a face-framing collar on the
short satin jacket which accompanies this regal
white satin evening gown. That train is dra-
matic, isn't it?
52
s
TYLES IN
ijrloria's Xi
cture
Chanel has caught all the glamour that surrounds an
opera singer in these clothes she has designed for
Gloria's operatic screen role. Look at this after-
noon ensemble in black satin and ermine. Every
line of it is distinctive. The coat is long and slightly-
fitted. Barrel cuffs of ermine trim the sleeves, while
a double collar of the fur rises about the face. The
dress depends upon intricate seaming for its chic.
Bands of ermine trim the surplice neckline. A barrel
muff echoes the sleeve detail and a pert turban tops
the unusual costume
Longer and more elegant
goes the trend in eve-
ning wraps a la Chanel.
This gorgeous satin one
is lavishly trimmed with
that precious fur, chin-
chilla. Again the unusual
cuff detail that marks
all these " Tonight or
Never" costumes
53
Man
About
T
own
By S. R. Mooh
"I owe everything I am to my mother," says Jackie Cooper
with a catch in his voice as he magnanimously attributes
his success to this Little Woman. Incidentally, Mrs.
Cooper is his manager as well as his Best Friend and
Severest Critic. Jackie's fortune is put in trust funds
W!
'HAT'S a man about town, Wally?" Jackie
Cooper asked one day on "The Champ" set.
'" What you want to know for? You're not
figuring on being one, are you? " Beery countered.
Jackie swung two legs over the arm of his chair and sat on
the end of his spine. "Well, I figured maybe I was already.
I understand that a man about town is a guy who goes to a
lot of theater openings and a lot of banquets and knows a lot
of people and belongs to a lot of clubs. Well, don't I go to all
those openings? And haven't I been invited to the big Acad-
emy banquet and don't I call a lot of guys by their first names'-'
I'm a good fellow and I go to a lot of places. Don't that make
me a man about town? "
Some weeks later when Wally Beery repeated this conversa-
tion it occurred to me that if ever there was a real man about
Hollywood, Jackie Cooper is it. He's got Adolphe Menjou
beal for nonchalant poise. The ladies old and young — flock
around him as if he were Clark Gable. He accepts greatness
and admits it like Hill Powell. And he certainly "calls a lot of
guys by their first names." What's more he gets invited to all
the best places including Louis B. Mayer's yacht.
I recalled our first meeting. Mary Brian and I were sitting
in the Radio Pictures lunchroom when a blond youngster
passed by our table. Glancing up I beheld Jackie Cooper.
We had never been formally introduced, but Jackie, so I'd
heard, is not one to stand on formalities. He grinned.
"Hi. Jackie," I greeted him.
" Hi. pal," said he, slipping his arm around my shoulder and
54
crossing one foot over the other. " 'Lo, Mary," he
added as an afterthought while he anxiously scanned
the horizon. Evidently not finding what he was
looking for, he mounted the rung of my chair and
peered over my head.
"I'm looking for a table," he announced.
"Why don't you sit down with us?" Mary invited.
"I can't," he announced disgustedly. "I got my
mother and aunt with me."
At the time he was working with Richard Dix in
"Big Brother." "How's the picture going?" I asked.
"Oh, the picture's going all right," he replied, "but
we can't find a name for it. They want some-thing
with me in the title."
" Well, how about 'Big and Little Brother?' " Mary
suggested.
"That's what I told 'em," he answered, "but you know Dix,
a swell guy to work with, but when it comes to publicity it's
Dix, Dix, Dix. I gotta go now," he finished, "or Mom will
get sore. She'll think I'm neglectin' her."
Two months later we met again in the publicity offices of
M-G-M. "Hi, Jackie," I greeted him.
"Hi, pal." said Jackie extending his hand.
"You don't remember me, do you?" I persisted.
"I'm afraid I don't," he confessed. "The face is familiar
but I can't place the body."
I recalled the time and place. "Oh, sure," he said care-
lessly. "What you been doing with yourself?"
I FLIPPED the back of my hand against his midriff. Jackie
let out what is commonly known as a belch. He hastily
grabbed his mouth, and turned to his mother. " 'Scuse me,
Mom, but honest I couldn't help it. He socked me in the
breadbasket and I'm full o' watermelon."
He turned to the publicity woman sitting nearby. "I just
had lunch with Mr. Mayer," he informed her, and after assur-
ing himself she was properly impressed, he continued: "How
bout that letter I'm supposed to write for you?"
We're having all the stars write to each other," she ex-
plained. " Anything you'd like to get off your mind?"
"Sure," said Jackie. "Me and Wally Beery been talking
about getting up a football team around here. I been looking
for a practice field and now I've found it, I can't find him to
tell him where it is."
Prominent club-
man, after din-
ner speaker and
Hollywood
playboy breaks
down and
makes an inti-
mate confession
y^iP^Sa^
He slipped into Eleanor's chair, seized
a pen and drew a sheet of paper towards
him. For ten minutes nothing was
heard but the scratch-scratch of Jackie's
pen. His tongue, which protruded
slightly from the corner of his mouth at
the start, threatened to reach into his
ear before he finished.
"This is sure a swell pen you got
here," he announced as he completed
the letter and held it up for inspection.
I glanced at the epistle. If Wally Beery
learns from that letter where the prac-
tice field is located he can qualify as the
world's champion crossword puzzle ex-
pert.
JACKIE eyed me meditatively. " Say,"
he asked suddenly, "didn't you come
down to our house to a party Mom gave
last summer one night?"
I confessed I had. "Well, why don't
you come down for a swim some day?
I haven't changed any since I got a
break. And if you forget your suit,"
he offered, "we'll fix you up somehow.
'Course they're mostly only women's suits down there, but, "
he eyes my waistline doubtfully, "maybe you could squeeze
into my brother's suit.
"I gotta go now and look for a dressing-room," he finished.
"See you at the beach Thursday."
Later, I learned he had chosen Marion Davies' bungalow as
a likely spot for his dressing-room and it had taken considerable
diplomacy on the part of studio officials to persuade him to
wait until her return from Europe before moving her things out.
When I arrived Thursday he was dressed mostly in a pair of
blue cords. North of the equator he wore a crash beach shirt.
"Hi, pal," he greeted me.
He proceeded to tell me about a club he had formed before
they moved down to the beach. It was called the Arrow Club
and boasted a clubhouse the boys, themselves, had built and
which, his mother said, on the outside closely resembles one of
Chic Sale's specialties. It looked as though it was standing
only because it didn't know which way to fall, his grand-
mother added. Jackie indignantly refuted the aspersions cast
upon his architectural ability.
The membership was recruited from boys fifteen and six-
teen, personally selected by Jackie. "The only guy in it under
fifteen was the janitor," he vouchsafed. "He was only five.
I like to go with older fellows," he went on. "Then if anyone
picks on me, I got them to fall back on. It was a swell club-
house, too. We had a secret entrance through the roof. We
were going to dig a tunnel so you'd come up from the bottom,
and where you went into the tunnel we were going to have a
*"JW «**'
The president of the Arrow Club, himself, in the doorway of the palatial
clubhouse. A group of public-spirited young men formed this organiza
tion. Just what its purpose is has not been decided. Note entrance
through roof, and secret sign on wall. Jackie's integrity is unimpeach-
able, so don't ask him. He'd die before he'd tell its meaning
trap door and cover it with grass and dirt so no one could find
it, but the other fellows got tired of digging. So we had the
entrance through the roof and hid the ladder when we weren't
using it, 'cause no one would ever think to look for a door in
the roof of a building, would they? "
I conceded the logic of his reasoning.
"The only trouble," he went on, "was once the fellows
thought everybody was out and they took the ladder away.
When I went to get out there wasn't any ladder, and I fell off
the roof and almost busted a rib. So Mom broke the club up
and I gave the building to a girl next door."
WHEN the club had been explained, Jackie led me into his
bedroom to show me some autographed pictures he has col-
lected. "I got more in the back room," he volunteered, "but
they're not important people."
Next, he proceeded to pull out the bottom drawer of his
dresser and show me his treasures — a couple of rings, one of
them made from a horseshoe nail — and about forty "migs"
(marbles).
He held up the horseshoe ring. "Is this a man's ring?" he
demanded. "It looks sissy to me."
When I had assured him of the masculinity of the ring, he
eyed the marbles. "We could play a game of marbles," he
observed— and then decided against it. "But I guess we
better not. You'd be sure to lose and then you'd have to buy
some 'migs' to pav me. You better save your money."
I yessed him heartily. [ please turn to page 114 ]
55
own
OLLYWOOD
"One of the atrocities we concocted in the pub-
licity department," says the author. "Of course
Gwen Lee never wore those fur garters. We said
she did, but it was press agent stuff!"
56
This is the way Lillian
Gish insisted upon
acting in ''La
Boheme." She just
would be coy in spite
of all of Jack Gilbert's
ardent advances.
"I'll not have any
kisses in this pic-
ture," she said. But
there were kisses.
Read the story and
you'll discover why
BIG, booming factories were the studios of six years ago,
entirely different from the chummy, cozy workshops of the
old Griffith and Metro days. Today they have taken on still
another color. Nothing changes as suddenly and decisively
as Hollywood.
When I started to work in the publicity department of Metro-
Goldwyn-Mayer, the word "talkies" was still uncoined, the sound
picture practically unthought of, and great stars of that studio
were yet to be born professionally. The big shots of the lot were
Jack Gilbert, Lillian Gish, Mae Murray, Marion Davies and
Ramon Novarro.
Two of the most promising newcomers — players untried — were
Joan Crawford and Billy Haines.
And there was a Swedish girl who had just been brought over
with a great director. None of us could see why they had given
her a contract. She was too tall, too gawky and had none of the
obvious requirements of a great actress. She just wandered about
the lot and nobody paid her any attention. Her name was Greta
Garbo.
No, we were concerned with the artists, Lillian Gish and that
marvelous actor, Lars Hanson. And now who knows anything
about Lars Hanson and where is Lillian Gish? While Garbo . . .
well, if we had had sense enough to see what the girl had we
wouldn't have been working in the publicity department. But we
were not alone in our disregard.
Even the executives ignored her.
Lillian Gish was the highest paid star on the lot. It was rumored
that she received S8.000 a week (shades of Connie Bennett's
$30,000!) and everybody was a little jittery when the contract was
signed. The great Gish was among us. Why, Hergesheimer had
said she was the truest artiste of the cinema. So had Mencken.
And George Jean Nathan.
When Lillian Gish
was a real vamp . . .
The episode of Mae
Murray's precious dim-
ple . . . When Conrad
Nagel was Elinor Glyn's
IT man . . . And other
things like that
By Ka therine
Albert
There were kisses
a-plenty when Con-
rad Nagel and Aileen
Pringle played
"Three Weeks."
Elinor Glyn saw to
that. She also tried
to make Conrad's
ears lie flat. Such
love scenes were the
fad six years ago.
And that bed of roses
— but what of the
thorns?
The problem for us was what to do with a person like that from
a publicity standpoint. The best way we knew of getting stars'
pictures in the papers was to have them posed wearing fantastic
garters, having their legs tattooed or their nails painted gold.
Obviously, Gish was not the type. It was in dignified copy that
we must "plug" the ladylike Lillian, so, because I'd known her in
the old Griffith days, I was assigned the special task of "handling"
her.
Reams and reams of copy had been written about her. She was
a recluse, a saint upon a cinema hill.
I REMEMBER that there was a title writer on the lot who had
been a hardboiled newspaper man. Girls like Gish, he boasted,
were just a lot of first class bologna. The only real women were
the kind who knew life. He had not met Miss Lillian when he
made these statements but when he did, he assured us, he would
not be a fool like the rest.
And then he was given the job of writing titles for her picture
"La Boheme." He went to confer with her and came away from
the interview with a mist before his eyes, his brain fogged by the
cobwebs of beauty. The Little People had got him and when I
asked him what he thought of Gish now, he stuttered, "Why she's
. . . why, she's . . . she's what men think women are before they
know they have bodies."
That's what Lillian Gish did to men. Frail, delicate, her pale
blue eyes wan with suffering, her soft, blonde hair about her head
like the radiance from a winter sun, her fragile hands traced with
tiny blue veins and lying in her lap like spring flowers — she was the
greatest siren in Hollywood. You can rave about your bold,
voluptuous women, your brittle gold diggers, your glamorous
ladies of leisure, your sex appeal kids from Brooklyn, but Lillian
Gish could, in the matter of getting [ please turn to page 104 ]
Arrow points to spot where Mae Murray said she
had a round, smooth dimple. But a mean old
retoucher made it look like something else. It's
a wise star who knows her own dimple
57
' I v\\'( ) cameramen risked their lives in the wilds
■*■ of the Paramount Studios to get this picture
of Fredric March in "Dr. Jekyll and Mr. Hyde."
Freddie took a chance, too. Suppose somebody's
foot had slipped ! Oh, how they suffer, gentle reader,
how they suffer for you. But they get paid for it!
58
1\/TIRIAM HOPKINS suffers, too. And in the
^ ■■■same picture. Imagine having to lie in that
soft bed all day while the director gives instruc-
tions. She makes the sacrifice so your lives will be
brighter. Think about that when the alarm rings at
six a. M. and all you have to do is go to a nice office
59
In spite of his playing
Hamlet in a school pro-
duction, Hard e Albright
turned out to be a good
actor— stage or screen
We S
The germ of infantile
actoritis bit him when he
was four years old. "He
looks like Francis X.
Bushman," said Mr.
Wilkins
hould
H
ave
K
nown
BY the way Hardie Albright
would dress up in fantastic cos-
tumes and deliver long, heart-
breaking orations as a kid, we
should have known he would turn out
to be an actor.
And we should have known it when
he was the only kid in town that
never wore a hat winter or summer.
We suspected it the night the high
school contest was on and Hardie
stood up there on the platform and delivered Shylock's speech.
With fire and feeling, he cried long and lustilv for his pound of
flesh.
• Huh," old man Wilkins remarked on his way home. "I
never heard so much swell yelling for a pound of anything in
my life as that Albright kid let out tonight. But durned if he
ain't good. You kind of believe everything he says. Yes sir,
he's good."
Hardie won the medal that'night.
And Charleroi, Penna., was beginning to sit up and take
notice of this kid that was in constant demand by all the mer-
chants to make window signs, by all the men and women's clubs
to help with their plays; of a kid that won every track meet at
school and smacked two front teeth out of Jimmy Buchanan's
lace because he called him " Blondie," and finally graduated as
president of his high school class.
He was Hamlet in the class play, I remember. And how care-
fully we avoided one another's eyes on our way out. Talking
at length on some trivial thing that didn't matter. Ashamed
of the lump that had gathered so mysteriously in our throats.
Ashamed of our own emotions and to admit that into the being
of each one of us had crept the realization that here, in our
midst, was someone gifted beyond our understanding.
So leaving the town, his town, a little bewildered or maybe a
little puzzled about the whole thing. Hardie went away to
Carnegie Tech in Pittsburgh, some thirty odd miles away.
" I want to be an actor," he told
Chester Wallace, head of the drama
department. "But I can't go on
unless I'm sure dad and mother are
That Hardie Albright
would turn out to be an
actor, says this writer
who knew him when—"
satisfied about it. We — that is — ,"
he stammered, "people up my way
don't study acting much."
"I understand, lad," Mr. Wallace
said. "Let's see what you can do."
So, on an empty stage, in a dim
auditorium, Hardie Albright stood
alone. There were no familiar faces
beaming up from below. Just space.
He pulled down his coat, brushed
back his hair, bit his tongue twice
and began! "Hamlet," bits of "Shylock," — everything but
"Gunga Din" and "Fireman Save My Child."
"All right," Mr. Wallace said at the end, "you may go now.
I'll write to your parents."
At the door, Hardie hesitated, fumbling with the doorknob.
Mr. Wallace waited.
"Did you, that is. Mr. Wallace," he hesitated, "did you ever
want to do anything over so badly that, well, you'd give half
your life almost for another chance?"
"Why, yes I have, Hardie," Mr. Wallace replied. "Why?"
" I wish I could do this over. I know I could do better."
BUT the performance stood,
horn
And the letter reached Hardie's
home.
" I never saw so much conflagration and misdirected talent
in all my life," Wallace wrote, "but he's an actor. It will take
a lot of study and work, but your boy is an actor. Make no
mistake about that."
So Hardie entered the dramatic department of Carnegie
Tech.
We didn't see much of Hardie in those four years. Summers,
I recall, he taught in a dramatic school in Gloucester, Mass.
But graduation time finally drew around. And Hardie was
again chosen for the Hamlet of his class.
We went in on the street cars to see him. Norman Foster
was in the class too, but then we didn't know we'd be writing
him fan letters, too.
For three weeks "Hamlet" ran in
7? «f C ^ ,. ^ TJ r, »*, .* 7 J ^ « a Pittsburgh theater, and the town,
By baia Hamilton { PLEAirE TCRX TO PAGE 98 ]
60
The Screen Forecasts Return
to Classic Lines in New Year
WHERE are the billowy sleeves and fluffy period
styles of yesterday? Quite shelved for the straight
trimness of frocks like this. You'll feel as smart as
Marion Davies looks in a brown silk frock that lets its
belt be the sole ornamentation. Note deep armhole
and draped neckline. Smart hat — nice suede pumps
YOU'LL see fewer frou-frous in 1932
fashions. And you will want some
simple, straight-line frocks like this one
Marion Davies wears in "Polly of the
Circus.'' The dress is of sheer wool and
that neckline and white vestee are labeled
1932. Even the peplum keeps to the
straight and narrow!
Let Screen Clothes Be Your
THE current pictures show dramatic
fashions that are practical — styles
that every girl can safely copy because
they are wearable. You are sure to be
ahead of the season if you watch your
movies — screen clothes forecast trends,
instead of merely following them!
TIRED of winter colors under your coat?
Take a print pick-up -then — it will make a
new woman of you! Dorothy Lee wears this
brown and white floral print in "Peach O'
Reno' — and it's just that. Prints always make
a bright, extra-something for the wardrobe in
mid-winter. Cape effects, like this, are good.
Those shoes are a California climate concession!
T'S a bonnie Scotch
cap that Spanish
Conchita Montenegro
is wearing here. The
Scotch cap type of small
hat is a great favorite
this year. It's young
looking, has the right
eye-pointing line — and
is just right to wear
with those big fur col-
lars. Worn in "Dis-
orderly Conduct."
THAT good old-fashioned
fabric, corduroy, is now
one of the best new fashions.
Here you see Dorothy Tree us-
ing it for a polo coat in
"Husband's Holiday." Brown
buttons, brown belt and collar
lining accent the beige color
of the material.
Guide to Wearable Fashions
THIS coat Joan
Crawford wears
in "Possessed ' fore-
casts new style
trends. It is furless.
The fabric is smooth,
and the shoulder cut
gives width while
the silhouette stays
slender. And that
high collar with bow
tie is fashion news.
PICTURE of a young star all set
for a theater date! Dorothy
Tree tops a simple black velvet
dinner dress with a matching vel-
vet coat in the new length. Note
those sleeves shirred in at the
wrist. As you can see in the
smaller picture, fine white lace
trims the square, high neckline
and lines the puffed sleeve ruffle.
Worn in "Husband's Holiday."
F you don't go home from
"Private Lives" with your head
whirling with new fashion
thoughts — it won't be Norma
Shearer's fault. Not least among
several striking lounging cos-
tumes is this one in a spring-like
color scheme of green, yellow
and blue. Trousers and bolero
are green, blouse yellow, sash
and scarf in green and blue.
Tailored Trends
QUAINT" and "period" are two words
which will not do much headlining
for 1932 fashions, if you follow style tips that
are already being given to you in new pic-
tures. The smart outfits which you will see
Norma Shearer wear in "Private Lives" stress
a definitely tailored trend, whether it is in
lounging costumes or street clothes. I think
you will approve the two shown here.
WHY did you top your grand tailored red wool dress with
that dizzy hat, Norma Shearer? The clever use of pique
saw-tooth edging makes up for it — so all is forgiven!
According to Mr.
Young, actors axe born
just like human beings
0
G
R
UR
VEST
f
EXIT
^^^^^J^
AGE
Our guest writer claims,
too, that many actors
die a natural death
THANK you, Mr. Editor. I'll
try to behave like a decent law-
abiding guest. . . . Yes, in-
deed, thank you. That's plenty.
Plain water with mine. How to become an actor?
lighted to tell you.
By Roland Yo u n g
I'd be de-
Birth is of the utmost importance. No one who intends
adopting acting as his or her profession can afford to ignore. a
careful selection of parents. In the case of the actor, the father
is of prime importance. In the case of the actress, the mother.
As an example, supposing an actor intends to specialize in the
portrayal of rheumatic traveling salesmen. He should select as
a father a man inclined from early youth to rheumatism, who
had had a wide experience as a traveling salesman, graduating
from pencils to, say, brassieres.
Of secondary importance,
but still important, is the
question of the mother. In
this case, I should suggest that
his mother be accustomed to
long periods of living without
her husband. She may, how-
ever, entertain.
In the case of the actress
who wishes to specialize in, for
instance, characterizations of
vegetarian spinsters, the
mother should be a spinach
addict. The type of father in
this case is negligible or might
be one of many.
Work
Hard work is usually given
as a recipe for success in any
field of endeavor. In the case,
however, of the actor, the less
hard the work the better the
result.
Dancing
The ability to dance is im-
portant to an actor or an ac-
tress, provided they don't
dance.
Painting
This should be confined to
the face, and not much of it.
Music
Buy a harp, but leave it at
home.
Fencing
This is useful in emergencies
He also drew the pictures at the top of the page.
Thank you, Mr. Young, you were great in "The
Guardsman." You always come through
with recalcitrant managers or di-
rectors, and the sword cane should
be part of every actor's equipment.
Gardening
This is useful when not employed in your profession.
Thaumaturgy
Optional.
Mind-Reading
Just plain reading is better.
Models
It is a good thing to have a model to look up to and copy. In
this capacity, Mickey Mouse is supreme.
Deuclaw
A short rudimentary digit
on the foot of a quadruped.
Avoid these. They just give
you shoe trouble.
Drinking
This should be undertaken
in a serious way. You might
be called upon to play the part
of a Dry Senator.
Lethal Chemistry
A knowledge of this is useful
in cases of supervisor trouble.
Sharp Shooting
See above.
Marriage
This comes under the gen-
eral heading of noble experi-
ments. It is, indeed, one of the
oldest forms of prohibition. It
is, of course, frequently re-
sorted to — or how would there
be so many little actors and
actresses every spring? In this
free and enlightened twentieth
century, marriage need not be
permanent. This is possibly
one of the attractions. It is
said to enhance the social
standing of offspring, although
there have been certain notable
exceptions.
Death
Death is as important as
birth. In some cases even
more so.
65
The Prize Winners
First Prize $i,ooo —
"My Companions"
E. E. and Mrs. H. M.
Phillips
Booneville, Miss.
Second Prize $750 —
"Photoplay's Stars
of the World"
Betty M. Walkey
114 Union St.
Lancaster, Ohio
Third Prize $500 —
"Screen"
Rena Grace Coulter
43 Sterling Ave.
Buffalo, N. Y.
Fourth Prize $300 —
"Peacock"
Frank L. Greseke
612 Lake Ave.
Lake Worth, Fla.
Fifth Prize $200 —
"A Chest of
Miniatures"
Mrs. Lina R. Garst
9 Paine Ave.
Auburn, R. I.
additional prize WIN'XERS os page 106
W:
INNERS
This scene, with the photos of the stars grouped
about the walls, took first prize — $1,000 — for
E. E. and Mrs. H. M. Phillips, of Booneville, Miss.
WELL, the judges have done it again. They have
gone over the more than 20,000 entries in Photo-
play's eighth annual Cut Picture Puzzle Contest
and seventy fortunate contestants have emerged
winners. As you read these words, seventy mail carriers are
handing to as many happy individuals a check each, ranging in
amounts from SI, 000 to S25, as their reward for the skill and
painstaking accuracy they manifested in their solutions. It
is a special honor in itself to win against so large a field of
splendidly planned and splendidly exhibited entries.
As in previous years, exhibits from practically every part of
the civilized world were presented and, as hitherto, the judges
had to proceed by the slow process of elimination and tentative
selection before they could concentrate on the several hundred
entries from which the choice of seventy winners was finally
made. A task, however, which was absorbingly fascinating.
•--■
n
-.•:.
£
£
9
$ # iff f
i § $ ¥ t
; * # • t _ t
fi8&£8E0B-Sfi£
Betty M. Walkey, of Lan-
caster, Ohio, was awarded
second prize of $750 for
her board and map show-
ing the birthplaces of the
stars in the contest
Third prize of $500 was
won by Rena Grace Coul-
ter, of Buffalo, N. Y., for
her effective display of the
stars on this inexpensive
but novel screen
66
Of ^5,000 Contest
By only holding closely to the three major requirements —
accuracy, neatness, ingenuity in presentation — was it possible
for them to arrive at just and fair decisions.
In the minds of the judges the outstanding entry in the Con-
test was the presentation — done on a small scale — of a child's
bedroom, the walls of which are adorned with the properly
assembled and named portraits of the stars that appeared in the
Contest. A small boy in bed, holding a copy of Photoplay
Magazine, fits into the general plan that gives a special sig-
nificance to the designation, "My Companions."
This first prize winning entry, $1,000, was the work of E. E.
and Mrs. H. M. Phillips, of Booneville, Miss.
When notified that their entry was under consideration for a
possible prize they wrote:
"So long have our thoughts in connection with money been
confined strictly to the smaller denominations that now, given
the privilege of entertaining the hope of something larger, the
mental diversion is indeed pleasant.
"There are winter coats to buy. Our picture show budget
will, no doubt, be increased, and the chances are that our motor
trip West that fell through last summer due to insufficient funds
will be planned for next spring."
THE second prize, $750, was captured by Miss Betty M.
Walkey, of Lancaster, Ohio. Entitled " Photoplay's Stars of
the World," it represents the birthplaces of the motion picture
actors and actresses whose portraits were used in this Contest.
Miss Walkey evinced a marked intelligence and care in the
manner in which she evolved and worked out her idea. Her
letter is as direct as her presentation. From what she writes she
undoubtedly will use her prize money to excellent advantage.
"I am sixteen years of age and a sophomore in Lancaster
High School. I am kept very busy with my school work as I am
carrying extra subjects this year. I am specializing in languages
and would like to become a linguist.
" My hobby is dancing, and although I enjoy many outdoor
sports such as tennis, target practice, and swimming, it provides
my chief recreation. I have studied ballet work for a number
of years and I now go to Columbus three evenings a week for
lessons in ballet and Spanish dancing.
"In the event that I should win one of the larger prizes I
think I should like to use it to further my education in dancing.
It would give me great pleasure to be able to study in New York
or to spend a season or two in a dancing and recreational camp."
And you must admit that the third prize winner had an in-
genious scheme. What could be more logical and at the same
time more simple than to use an ordinary wire window screen as
a method of conveving this entrant's idea? For this, Mrs. Rena
G. Coulter, of Buffalo, N. Y., wins the third prize of $500.
The
Answers
June
July
Joan Crawford
Mary Astor
Constance Bennett
Mary Brian
Dorothy Mackaill
Norma Shearer
Marion Da vies
Sue Carol
Gary Cooper
Robert Montgomery
Richard Barthelmess
Ramon Novarro
William Haines
John Gilbert
William Powell
Chester Morris
August
September
Jeanette MacDonald
Marie Dressier
Loretta Young
Kay Francis
Anita Page
Mitzi Green
Leila Hyams
Marlene Dietrich
Clive Brook
Paul Lukas
Joe E. Brown
Phillips Holmes
Warner Baxter
Jack Mulhall
Lewis Ayres
Douglas Fairbanks, Jr.
"I put a great deal of love into my work on the Contest," she
writes. " I am a stenographer and the sole support of my parents.
Should I be so fortunate as to read my name among the
winners, I would use the money to continue my vocal studies
and take a course in advertising."
Here is a peacock, the like of which we have never seen before
— all its feathers made of paper, [ please turn to page 106 ]
Pages from Photoplay
were used to make this
peacock, which carried off
fourth prize of $300 for
Frank L. Greseke, of Lake
Worth, Fla.
Mrs. Lina R. Garst, of
Auburn, R. I., constructed
this "Chest of Minia-
tures," which was awarded
the fifth prize of $200
67
Wide World
TJTl.RK, arriving at a Hollywood premiere with her hus-
AA band, is the lady you all want to see : Mrs. Clark Gable,
formerly Mrs. M. Franklin Langham of New York City.
She isn't an actress, never has been and doesn't want to be
tt
JL'm liot >3o uu
w
re
Because the higher the pedestal the
better target you make for the Holly-
wood sharpshooters
S
c
G
ays
y
lark
able
'AS Clark Gable a child whom
he is not recognizing?
Has he been married twice,
three times or four? What is his true background?
Every writer in Hollywood is trying to find answers to these
questions. Some have printed stories without waiting to get
the truth.
It's a very old Hollywood custom.
But a custom which Clark, a newcomer, is incapable of
understanding.
"Why don't they come to me," he demands, "and ask me?
"My stepdaughter is sixteen years old. My stepson twelve.
They are the children of my present wife.
"No one has asked me about this, to date. I would have
been glad to tell them. If I had any children of my own I
would be proud to say so."
The bare facts of Clark Gable's life have been written before.
But what was happening inside the lad's head and his heart
has never been told.
CADIZ, OHIO, is a droning hamlet less than twenty miles
from the galloping city of Wheeling, West Virginia. The
adult inhabitants of Cadiz peer
indolently from their vine-
covered piazzas toward the
smoke curling from the buzzing
factories of the city and con-
gratulate themselves on the
peaceful contentment they have
inherited. The youths of Cadiz
look at the same smoke with
yearning and impatiently count
the years until they will be old
enough to go to the city.
Cadiz is Clark Gable's home,
and in only one way did he differ
from the other youngsters there.
He was incapable of cruelty.
Trapping was the chief sport.
Clark would set his traps as
eagerly as the others. But when
it was time to collect his prey, he
couldn't bear to kill the animal.
The boys didn't dare call him
yellow, because he had two good
fists and had proven he could use
them.
The heart of a poet, the
physique of a Dempsey, was
Clark's inheritance. His mother
was an artist. Although he
doesn't remember her (she died
when he was an infant), he
knows that she never gave up
her efforts to improve artisti-
cally. She was a dreamer, a
beauty worshipper.
But his father was a product
of the oil fields. Rough, hard, a
man among men.
Clark's stepmother did a re-
By Ruth Biery
Clark says:
"I have been married twice, and
twice only.
"I have no children of my own,
but I have two stepchildren.
"I have learned there are just
two things that can keep a man
from living as he wishes. One
is poverty, the other fame.
"What I didn't know when I
was piling lumber at $3 a day —
a job I didn't like but had to do
to eat regularly — was that suc-
cess and a fine income may
cause the same situation.
"If I can't live in Hollywood
according to my own ideas, I
know I can get out and make
my living somewhere else."
markable thing. She learned to know
the boy's mother's people, and reared
the lad as his own mother would have.
But his great sensitivity to art and beauty was always warring
with the two-fisted training of his father!
His first struggle came when he was sixteen, and his father
bought a farm in Northern Ohio. It was a funny, little farm
in a funny, little community. The people were entirely
different from those whom he had left. He missed the gay
camaraderie of Cadiz and, trying to make friends with the
farmer folk, discovered they had nothing in common. He was
thrown upon his own resources. "I learned to live with myself
instead of with others," he says.
He turned to long tramps in the country. His constant
companion was his dog, and during those lonely hours he
learned there was something within him that demanded ex-
pression. He played with the idea of becoming an artist, a
writer, an actor, a doctor.
One of his Cadiz friends wrote that he was going to Akron
to work. Clark begged his father to be allowed to join him.
Those were the exciting days at the end of the war. Getting
a job was easy. He went to work in the office of a rubber
company. The first day he fell
asleep ! Filing papers was a dull
task yet he had to keep his job
because of the money, but he
stopped night school where he
had studied dentistry.
Frantically he sought some-
thing that would reveal the
magic of life. It was watching a
dingy little stock company play
all the old theatrical chestnuts
that seemed to lift him out of
himself
HE was a gawky, country boy,
almost alone in his first big
city. He was afraid of girls so his
adolescent dreams turned to the
theater. And, having been in-
troduced to one of the actors, he
hung around backstage until
they finally gave him the job of
calling the cast for their cues. He
received no money. To smell
grease paint was reward enough!
Eventually, they gave him some
walk-on parts. "Your carriage
awaits, madame — " was the
longest line he spoke. That
didn't matter. It was the crepe
hair, the spirit gum, the paint,
the powder and the language of
the stage which held him.
He kept his office job as a
temporary livelihood, but culti-
vated the stage as a vocation.
Undoubtedly, Clark would
have become a bona fide member
[ PLEASE TURN TO PAGE 96 ]
69
L
o
ok
in
the
Mi
Are Y o
u
Popular?
IT is an accepted fact that women can't sit down and tell
the truth about one another without having the meeting
break up in a small riot. That's the reason that the game
of "truth" often causes a break in friendships of long
standing. Women don't like to hear unflattering things about
themselves — and they don't like to admit unflattering things
to themselves, either. Perhaps if there was more self-honesty,
there would be fewer unhappy women.
The other day a charming young girl wrote to me from a
school in the South. It seems that she and her friends had had
one of these truth sessions. They had told her that she was not
making the most of her looks. She had lovely hair but she
didn't take enough time to make it a real asset toward beauty.
Instead of becoming angry at this frankness, she hurried back
to her room and wrote me for some good tips on how to make
her hair more tractable and really lovely. She, you see, had
the good sense to take a friendly hint from others. And I im-
agine that she will be the belle of school proms from now on
because she benefited by constructive criticism.
All this leads to the question of whether or not you can
honestly rate yourself. It isn't often easy to see yourself in a
dispassionate way. We are all too prone to excuse our faults.
It is easier to say, "I might be successful," than to say, "I am
successful." It is easier to take second best rather than to
make the effort to correct some small thing in ourselves.
If you don't put a valuation on yourself, no one else is going
to. The successful business woman, the most popular debu-
tante, the most brilliant actress, are women who have groomed
themselves to reach a definite goal. You don't have to be
ruthless about it, you don't have to mow others down to make
a place for yourself. You merely have to be knowing about
your charm, your ability — have faith in yourself.
DO you remember the breathless wait there used to be for the
school year book which would give the rating of your class's
most successful members? Most schools still have these sta-
tistics every year. There is the vote for the most beautiful, the
most popular, and so forth. And then somewhere toward the
bottom of the list there would be the cruelly frank classifica-
tion for the biggest grind or the most competent. I wonder if
there ever was a girl who honestly thought it was an honor to
be rated the most competent? I doubt it.
The whole secret of this business of charm, or glamour, or
whatever your particular term for it may be, is to create an
aura about yourself. Make yourself look what you want to be.
Suppose you are the most efficient business woman that ever
lived, no man wants you to rub it in. And the whole glory
turns to so many ashes if you see a future that holds nothing
but a desk in it. Be efficient in your office, but shed your
rror
• ±±ow
Poised, beautiful, popular and successful— Kay
Francis can meet her mirrored reflection face to face
with the assurance that she has made the most of
every asset. Why not let your mirror reflect as
gratifying results? Just a little self-study and a lot
of will power will do it !
Friendly Advice
on GIRLS' PROBLEMS
I will gladly answer any personal problems
ahuu I hair, correct colors for your type, and
make-up shades. Merely send a stamped,
self-addressed envelope.
Also ask for my booklet of normalizing
exercises and non-fattening menus. My com-
plexion leaflet gi\c- general advice on the
care of the skin with treatments for black-
heads and acne.
Address me at Photoplay, 221 West 57th
Street, New lork City
Self-Analysis Will Give Yo u
70
Do JLou It
Beauty
Questionnaire
Carolyn Van Wyck asks some burning
beauty questions below. Perhaps they may
give you a cue to your own beauty problem.
See how many you know. If you can't an-
swer them yourself, you will find the answers
on page 112.
1. Can eye shadow make eyes look larger?
2. What is the latest hair whim in Paris?
3. What is Mary Pickford's tip for slim-
ness?
4. Do you key nail polish to skin tone?
5. How can brittle nails be avoided easily?
6. Who can wear coral rouge and lipstick?
7. What composes the "white henna"
bleach?
8. Do you moisten lips when using lip-
stick?
ate
Yc
ourse
if
?
competent shell when five o'clock rolls around. Take off your
tailored suit, put on a deceptively feminine gown. Don't talk
shop, but tell your best beau of the evening the most amusing,
delightfully frivolous things you can think of. If he is the type
that likes to have your gloss of indolent, well-groomed feminin-
ity pierced with a brain wave now and then — you can give him
small doses of your efficient side! But remember, only small
ones. The average man is as wary of a too efficient woman
as he would be of a shrewish mother-in-law!
One of the most successful business women I know is a per-
fect dynamo at her desk but the most fragile, exquisite bit of
femininity socially that you could possibly imagine. I once
remarked to her that I had never known anyone who could
conquer more difficult situations than she could and still leave
her business contemporaries feeling that they were humoring
a charming, precocious child. She gave me one of her subtly
knowing looks and said, "I never let people see me work
except when it is important, and I always try to do things in
such a way that an idea of mine always looks as if it surprised
me as much as it has my business associates." Yet anyone
who has ever done business with her knows that she is as
shrewd as you can find them — but I doubt if anyone has
A r e Yo
u
Successful?
ever thought to dismiss her with a disparaging, "Oh she's
efficient, all right!''
Haven't you heard someone say, "If I put up with the dull
people she does, I could be popular, too?" And right there
lies the why of popularity. You can't just fill your life with
the most sparkling wits, or the most fascinating people if you
decide that popularity is your goal. Often you have to work
up to the coterie of chosen ones through a maze of dull but
useful people. Oh, I know that sounds mercenary — but actu-
ally it isn't. The stag line at a dance isn't filled with the best
dancers and the best looking men — but those nice, but dull
young men who may compose part of it, will give you the rush
that makes the catch of the season suddenly realize that you
are really pretty grand. And those nice young men will have
been cheered by the warmth of your smile and the friendly,
reluctant pressure of your hand as they release you to your
next partner. It is so easy to leave people with a pleasant
glow that it is only the self-centered person who never thinks
it worth the trouble.
CHARM — glamour — personality — we all want it. We can't
all have it without a bit of self-study, a careful rating of our-
selves. Know your weaknesses and how large a part they play
in keeping you from your goal. Then discipline yourself to
overcome them. You can, you know. An alert, poised mind
and body makes for a poised manner. Come face to face with
yourself in the mirror — and then have a truth session with
that mirrored self! You will be surprised what you can find
to do for yourself.
And rather than furrow your brow with unsolved problems —
come to me, I know I can help you out of your dilemma.
Bessie:
You are considerably underweight for your height. I think
if you tried to gain weight for awhile you would discover that
your whole figure will become more perfectly developed. Try
eating fattening foods, drink milk and cream several times a
day, and get plenty of rest. That will put the weight on
where you need it.
Exercise is excellent for building up and filling out a concave
chest. First learn to breathe deeply, especially when walking.
Also try this exercise:
Stand about two feet away from a wall. Face it, placing
your hands flat against it. Then move your head slowly
toward the wall. Keep your chin up until your chin and chest
both tough the wall. Now return slowly to the former position.
You can repeat this a few times at first, and then gradually
increase the number of times when your muscles become ad-
justed to the strain. [ please turn to page 112 ]
New Start Says Carolyn Van Wyck
71
MAE CLARKE is a girl who
knew what she wanted —
ever since she was a kid.
So she went after it. And
gOl it.
What she wanted was to be an
actress. Not just another actress,
but a good actress whose name would
go up in electric lights and be remem-
b< red, not forgotten.
Well, there's nothing unusual in
that, of course. Any number of girls
have and have had the same idea,
you say. All right, but wait a min-
ute. Don't forget that Mae Clarke
didn't just fall asleep with the idea.
She worked on it and made the grade,
until now she's at a station pretty
mar the top.
And even that, you mumble, is
nothing so great, is it? There are
lots of other movie actresses in Holly-
wood who are just as near the top,
and nearer, too, than Mae. Okay.
But don't overlook this —
Mae Clarke's story is unusual be-
cause of one point: Mae started from
scratch with nothing — nothing what-
ever to give her a boost along the
path she had chosen to climb. Ex-
cept her own determination. And
since we're all human, we still like to
hear about the Horatio Alger hero
or heroine, and we like to pat 'em on
the back when they make good.
You see, Mae didn't have any head
start like — say, the Bennett gals.
They had a father and a mother who
were of the theater. Behind them,
they had generations of theatrical
tradition. Heredity gave them a
swell shove to start them along their
careers, and Papa Bennett took over
the job where heredity left off.
But Mae Clarke's dad wasn't an
actor. Her mother wasn't a star.
There were no great names of the
theater hanging on her family tree.
Papa was an organist in an Atlantic
City showhouse; that's as close as she
came to the stage on dad's side. And
mama's closest connection was that
she used to wish, when she was little,
that she could be an actress.
NOR did Old Man Luck beckon
Mae to sit in his lap, like any
number of our present cinema stars.
Maureen O'Sullivan, for instance, was
picked out of obscurity by a director
who wanted a type and thought she
was it — and the road to film fame was
smoothed for Maureen by the com-
bined forces of a big studio.
It was different with Mae. No-
body picked her out and made her a
star. Nobody paid any attention to
her, in fact, except when she forced
them to. There wasn't any lucky
break for Mae — except the ones she
created.
She didn't have Greta Garbo's
exotic lure; she didn't have the bally-
hoo that popped Dietrich into the
film firmament overnight; she isn't
any extraordinary beauty that makes
you sit up and take notice whether
you want to or not; she didn't have
the advantage of getting into pictures
when pictures were growing up — like
Swanson and Pickford, you know —
so she could grow up along with them.
7 J
??
I'u
H
a v e
V
a n i
ill
•>•)
a
Mae Clarke was a good
soda-mixer. Now she's
one of the coming stars
because she went after
what she wanted
By Harry Lang
Mae made a hit as the tough girl in
"The Front Page." Then she scored
in "Waterloo Bridge." Then "Frank-
enstein." She's well on her way
Mae Clarke didn't have anything.
She wasjustan ordinary, live-around-
the-corner, little Atlantic City kid,
who used to play pirates on a raft
with the neighborhood boys and girls.
But get this — even when she was
playing pirates, Mae Clarke was be-
ginning her acting career! And when
a kid starts actively working out a
career before she's ten, and keeps
everlastingly at it from then on —
well, she doesn't need Bennett's an-
cestry, or Garbo's lure, or Swanson's
ground floor "in," or a Prince Charm-
ing in one guise or another to carry
her along.
"It's trite," she laughs, when you
ask her about her career, "to say, 'I
always wanted to go on the stage.'
People who read and write about
stage and screen folk must get sick to
death of that line. But I can't help
it — with me it's true, and that's all
there is to it.
"Why, even back there as far as I
can remember — three years old — I
used to live to 'act.' My mother
must have sympathized with me.
I've often heard her tell me that she,
too, had wanted to be a great actress.
Anyway, as early as three I began
having dancing lessons.
"Then, when I got a little bigger, I
used to love to dress up in boys'
clothes and play pirates. We had a
lagoon that we used to call our
Spanish Main, back there in Atlantic
City, and a raft. We buried treasure
and sailed the seas and all the time I
was acting the part for all I was
worth. I used to throw myself into
it — live the part."
NOW, haven't you heard that be-
fore, too? That "live the part"
stuff? More than one of our great
actors today give that as one of their
secrets of success — that they're "liv-
ing" every character they play.
Well, look — Mae Clarke was doing
that when she was a kid!
Amateur theatricals came next in
line. Mae was a soda-mixer by day.
By night, she was acting or rehears-
ing in some amateur show. Soda-
jerking was all right — but life began
when the shop closed and Mae be-
came an actress.
And then came her chance — a
carnival was to be staged, and some-
body was to be queen — somebody
who would sell the most tickets. Mae
went to work. She knew what she
wanted. She wanted to be queen —
not just for the sake of being queen,
but because it was a part she could
act, you see. Of course, she outsold
all the other contestants.
Then there was an amateur tryout.
A New York producer, during the
carnival, agreed to select one girl
whom he would give a job in one of
his New York shows.
Mae Clarke knew what she wanted,
again. She wanted to be the one girl.
So the queen doffed her crown, prac-
ticed songs and hoofed it until she
was so tired she could hardly mix a
strawberry sundae. The night of the
tryout everything went wrong. The
musicians played the wrong music
[ PLEASE TURN TO PAGE 115 ]
H 0 L LY H 0 0
[ Reg. U. S. Pat. Off. )
You Can't Fool A Horse-Fly
"Really, I'm not in the mood today, Mr.
Director. My Pekingese is indisposed"
"Beggin' your pardon, madame. Shall
we dust Mr. Gable this morning?"
" —and when Jackie Cooper cries it just
breaks me all up"
"And then again - maybe it's the kind of malt you use"
73
Movie Thrills You'll Never Forget
"The Front Page." A scene from the dashing drama of newspaper
life. Mollie comforts the newspapermen and soothes their frayed
nerves with a plate of her famous home-made doughnuts
"Uncle Tom's Cabin." The blood-
hounds close in on Little Eliza as she
flees across the river, leaping from cake
of ice to cake of ice
"The Champ." Jackie
Cooper pleads with
Wallace Beery to
come out from under
that cloak and be a
man, but Wallace is
ashamed because
he's just gambled
away Jackie's favor-
ite canary
"The Great Train
Robbery." A scene
in the waiting-room
of the railroad station
just before the sen-
sational holdup
74
"Engaged! Of course not —
eh, — we're just pals. How do
these rumors get around,
anyway
75
v*A
"I don't want us to move to Hollywood
Marriages don't last there"
,-A
"Gee, those movie
stunt men take awful
chances!"
v^Jy^^Vv
That Stuff Is Out
Paul Lukas is a nice
Hungarian boy who
got all confused about
this hand kissing
business. To kiss or
not to kiss was Paul's
problem, but you'll
have to read the story
to find out what he
finally decided
Whenever Lukas
talked to cute girls
like Dorothy Jordan
he got into trouble.
"American ladies are
beautiful," he says,
"but I am afraid to
look at them." This is
just a still from "The
Beloved Bachelor"
PAUL LUKAS is bothered. He goes around the lot mutter-
ing. Of course, a boy's best friend is his mutter. But
don't hold that against me. This is serious business — this
case of Continental manners versus American romance.
It has caused our Paul a few sleepless nights.
Picture him as he was when he first came to this country from
Hungary — handsome, suave, charming and as European as a
pair of white spats. He had been on the stage abroad for four-
teen years.
Imported to play in silents, he thought his career was at an
end when the microphone reared its ugly head. But, instead,
his accent proved an asset and the girls raved about him in
"The Right to Love," "Anybody's Woman," "Unfaithful,"
"The Vice Squad" and "Strictly Dishonorable."
That's the whole trouble. The girls went mad -about him
simply because he bowed from the waist, tipped his hat grandly
and paid elaborate compliments. Here's the story.
Just a few weeks after he and his wife arrived in Hollywood
he was invited to dinner at a smart beach club. One of the
delightful sequined gowned ladies, whose husband was present,
danced with him. When the music ended Paul lightly lifted the
right hand of the lady to his lips and kissed it. It's an old
Hungarian custom for saying, " Thank you," or "You're a good
kid," or anything like that.
Immediately after this the manager of the club appeared and
said to the host of the party, "Now I don't mind your guests
having their affairs but they mustn't be so bold about it at my
club. See that there is no more of that hand kissing business on
this floor."
Paul was bewildered, for he soon found that this distressing
incident was the beginning of a series of episodes. There was a
pretty extra girl on the lot who had worked in a number of his
pictures. Paul met her, clicked his immaculate heels together,
made a courtly bow and gave her one of those avid European,
ten-pound looks. The next day she re-
galed the studio with an account that D.. T?mn s>r>e D/in //-»r»
Lukas was madly in love with her. DJ frunCeS UeUlOTl
Upon another occasion, at a party, Paul was presented to a
charming lady (he still calls 'em ladies), the wife of a director.
He complimented her upon her gown and told her that her eyes
were lovely. In Europe it would have been forgotten. Not so
in Hollywood. The next day the lady's husband passed Paul
by with a look that could come only out of an electric refriger-
ator. The wife, it was later discovered, had taunted her
husband by telling him that Paul adored her.
IS it any wonder that the poor man sighs, "These American
girls are the most beautiful in the entire v/orld — and that
includes Vienna — but I'm afraid to so much as look at them."
Mrs. Lukas reacts to all this with a shrug of her shoulders and
a complaint that "American men are lacking in courtesy." She
understands. While Paul is kissing other hands she feels her
own manicure is all for nothing.
Right now we might as well get this hand kissing business
settled. In Europe, where the quaint custom originated, a
gentleman kisses the hands of:
Married women,
Elderly unmarried women,
Women who have achieved fame,
Or any women to whom marked respect should be paid.
The young girls must struggle along without it until they
marry or do some worthy deed. The idea seems to be — make
a success and get your hand kissed.
Paul was advised that his nice speeches and pretty compli-
ments got him the reputation of flatterer. So he's stopped all
that. As have all the foreign legion.
Ivan Lebedeff, Ramon Novarro, Nils Asther, Jose Mojica —
they suffered, too, when they first arrived. Ivan, having
learned his bitter lesson, has only five or six women on his hand
kissing list and he settled the big hat tipping problem by not
wearing one. Mention American girls to any of these men and
hear them sigh.
That accounts for cyclones in the
Middle West.
77
" I_TOYV'S the baby?" asks the lad from gay Paree. And
-*• ^dynamite Dietrich replies, "Ach! Svell! You and your
missus come for dinner and I bake somet'ing nice, yah?" And
that's what Marlene and Maurice Chevalier talk about when
they visit each other's sets. Or maybe they're just kidding us
Photoplay Magazink for January, 1932
79
Tzrnxrud cH^J^f
I Immaculate cleansing, to the depths
of the pores — that's the first step of
the Pond's Method . . . Apply Pond's
Cold Cream generously over face and
neck, patting with upward, outward
strokes to ward off sagging and wrinkles
. . . Let the fine light oils sink into the
pores and float every particle of clogget:
dirt, powder and make-up to the surface.
' ) Now wipe away with Pond's
m Cleansing Tissues— more efficient
because so muijh softer and half again
more absorbent by laboratory test . . .
Society women say these exquisiteTissues
are"the best way to remove cold cream,"
for they absorb the dirt so completely
that nothing is left to clog the pores . . .
Tissues in white or enchanting peach.
3| Next, Pond's Skin Freshener to
tone and firm — you saturate a pad
of cotton, then pat briskly over your
face and neck til! the skin glows . . . This
gentle tonic and mild astringent is so care-
fully formulated it cannot dry your skin
... It is indispensable in home treatment
of minor skin ills such as enlarged pores,
sallowness, blackheads and blemishes.
Smooth on a dainty film of Pond's
Vanishing Cream always before
you powder, to make the powder go on
evenly and last longer. It disguises little
blemishes and gives a lovely velvety
finish . . . Use not only on your face, but
wherever you powder — arms, shoulders,
neck . . . And it is marvelous to keep
your hands soft, smooth and white.
Send 1 OfE for pond's 4 preparations . pond's extract company, dept. a, 1 14 Hudson st., new york
Copyright, IQ3/, PonJ'i Extract Company
Tune in on Pond's Friday evenings p:Jo P. M., E. S. T. Leo Reisman and his Orchestra. WEAF and N.B.C. Network
8o
Photoplay Magazine fob January. 1932
over
MARY BOLAND, who looks under 30, declares she is over 40
years old! This lovely actress, who numbered among her
early Broadway successes such hits as Strongheart, starred
last season in The Vinegar Tree. Still radiantly youthful as
this recent photograph shows, Mary Boland says: "There's
no reason nowadays to care about birthdays. A skin aglow
with youth never fails to win hearts!"
Photoplay Magazine tor January. 1932
8l
St
oaf
MARY BO LAND
Famous stage beauty
tells now you, too, may
keep Youthful Allure
I
DON'T mind admitting it in the
least," says Mary Boland, beloved
stage star. "I'm over forty years old!
"There's no reason nowadays to care
about birthdays. Any woman who really
wants to can keep the radiant charm of
youth right through the years.
"We on the stage have proved it. Our
thirties — forties — even fifties! — have no
terrors for us.
"There's no magic about it, though.
It's just a matter of realizing the impor-
tance of complexion care. A skin radi-
antly aglow with youth has irresistible
appeal — never fails to win hearts!
"For years I have used Lux Toilet
Soap to keep my skin youthful. Its lather
is so gentle and soothing and it does leave
one's skin remarkably smooth."
How 9 out of 10 Screen Stars
guard Complexion Beauty
Mary Boland is only one of countless, per-
petually youthful stage and screen stars
who use fragrant white Lux Toilet Soap
to guard complexion beauty.
In Hollywood, of the 613 important
screen actresses (including all stars) 605
use it regularly. It is the official soap for
dressing rooms in all the great film studios.
Surely your skin should have this
gentle, luxurious care!
oap
IO*
A
SK THE
A
NSWER
M
AN
WALLACE BEERY and Jackie Cooper
make "The Champ" a winner, ac
cording to the Answer Man's mail
"What a team!'' everyone is saying. The
actor who has been in pictures for years and
the little chap who is just beginning have won
the hearts of the movie public. "Tell us about
Jackie," the letters ask. Read the story about
him in this issue, but here are some facts that
the story doesn't give.
Jackie was born in Los Angeles, Calif., Sept.
15, 1923. lie is 51 inches tall, weighs 73
pounds and has blond hair and hazel eyes. He
enured pictures in 1928, Incoming one of the
members of "Our Gang." He also did a small
bit in the " Fox Movietone Follies" and "Sunny
Side Up."
In 1930, Paramount borrowed him from Hal
Roach for the lead in "Skippy." That picture
made Jackie. Radio Pictures then borrowed
him to play opposite Richard Dix in "Young
Donovan's Rid " Metro-Goldwyn-Mayer saw
great possibilities in this youngster and bought
his contract from Roach.
"The Champ" is his first picture under the
new contract. His next will be "Limpy," a
story of a little crippled boy.
Wallace Beery's first screen appearances
were in Swedish comedies. Later he went into
feature pictures and gave many fine perform-
ances. Some of his latest pictures are "The
Big House." "Min and Bill," "The Secret Six"
and "The Champ." His latest is "Hell
Divers," with Clark Gable. Wally hails from
Kansas City. Mo. He is 6 feet tall, weighs 235
pounds and has light brown hair and dark
brown eyes. He was on the stage for ten years
before he entered pictures. His first wife was
Gloria Swanson. Areta Gillman is the second
Mrs. Beety.
Too bad Robert Williams didn't live to know
of all the friends he had won by his fine acting
in "Platinum Blonde," the last picture he
made. For the benefit of those who know very
little about Robert and are writing in asking
about him. here is a short biography.
He was born in Morgantown. X. C., Sept. 15,
1899. When he was ten years old he ran away
from home and joined a tent show. Later he
was with a Mississippi showboat company, and
then appeared in stock. Some of the plays he
appeared in were "Voice in the Dark,"
"Jimmy's Women." " Kyes of Youth," "The
Trial of Mary Dugan." •'Friendly Enemies"
and "Rebound."
He had several offers to go into pictures but
always turned them down. It was while he was
rehearsing for "Oh Promise Me," a stage play,
that Pathe asked him to play opposite Ina
Claire in "Rebound." This was followed by
"The Common Law," "Devotion." and
"Platinum Blonde." He was rehearsing for
"Lady With a Past" opposite Constance
Bennett when he was stricken with an acute
attack of appendicitis which resulted in his
death. He was married to Xina Penn, stage
actress, and had a ten-year-old daughter by a
former marriage.
Valektj Rogers, Columbus, Ohio. — It's ;1
good thing for me that you ran out of words to
describe Clark Gable or I would still be read-
ing your letter Connie Bennett appeared on
our March, 1931. cover, and she is in the
gallery this month. You can get the March
issue by sending 25c to Photoplay, 919 X.
Michigan Ave., Chicago, 111. Connie i< 2(>
years old and was born in Xew York City. She
is 5 feet, 4; weighs 102 and has blonde hair and
Read This Before Asking Questions
Avoid questions that call for unduly Ion;; an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. If you want a
personal reply, enclose a stam[>ed, self-addressed
envelope.
Casts and Addresses
As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
to Questions and Answers, Photoplay Magazine,
221 W s;-th St., New York City.
In "The Champ," Wallace Beery
plays a broken-down prize-fighter
who stages a comeback. Jackie
Cooper is his son. Folks loved the
picture and want to see Jackie and
Wally together again
blue eyes. Her sister Barbara, who is Mrs
Morton Downey in private life, is about 23
years old.
Elva Funk, Moxticello, III. — Hold the
fort, Elva, for you are quite right in your argu-
ment. It was Xorma Shearer who played the
leading feminine role in "The Trial of Mary
Dugan." Raymond Hackett was the lad who
took the part of her brother who also acted as
her attorney in the picture. Glad to hear
you're one of my regular readers.
B. R. Bowen, Kaw, Okla. — Glad to make
your acquaintance. There most certainly was a
picture called "Across the Pacific." It was
directed by Roy Del Ruth and released in 1926.
Monte Blue played the role of the soldier. Jane
Winton was the heroine. Myrna Loy the native
girl and Charles Stevens the bad, bold rebel.
Lucy, Syracuse, X. Y. — I agree with you,
Lucy. That was a swell dog that appeared
with Greta Garbo and Clark Gable in "Susan
Lenox." He is a thoroughbred police dog and
is called "Major."
Christine Norgaard, Valley City. X. D
— Whatsa matter, Chris? Have all the young
heroes gone back on you? Charles Murray has
been married to Boe Hamilton since May,
1911. They have one daughter. Charlie was
born in Laurel, Ind., June 22, 1872; is 6 feet
tall, weighs 196 and has gray hair and gray
eyes. George O'Brien is still single. Imagine
that! Alice Brady deserted the screen several
years ago. She is divorced from James Crane.
Has one son named Donald. Anna May Wong
is still single.
E. M. S., London, Ont., Can. — I get quite
a thrill out of answering letters to my friends in
Canada. Glad you like our American heroes.
George O'Brien is 31 years old, stands 5 feet,
1 1 ; weighs 176 and has brown hair and brown
eyes. Still single, too, as I told Christine. Now
I suppose it'll be a race between you girls.
Lucille Brown was the young lady who played
with George in "The Last of the Duanes." His
next picture will be "Rainbow Trail," another
Zane Grey thriller.
Mrs. S. R. Minor, Moundsville, W. Y\. —
Yes, Gary Cooper was the leading man in
"Lilac Time." Colleen Moore played the role
of the French girl in that picture.
Irene Knopp Tonawanda, N. Y. — What a
census taker you turned out to be. Well, here
goes for the birth dates and places: Joe E.
Brown was bom in Holgate, Ohio, July 28,
1892; Phillips Holmes, Grand Rapids, Mich..
July 22, 1909; Buddy Rogers, Olathe, Kan..
Aug. 13, 1904; Jack Oakie, Sedalia, Mo., Nov.
12, 1903; Lew Ayres, Minneapolis, Minn., Dec.
28, 1909; Douglas Fairbanks, Jr., Xew York
City, Dec. 9, 1907, and Joel McCrea, Los
Angeles, Calif., Nov. 3, 1905. What a lot of
territory they cover, Irene. Phillips, Buddy,
Jack and Joel are still fancy free.
Ruth Torrey, Worcester, Mass. — Yes.
Ruth, there really are two William Boyds. The
dark one came to the talkies from the stage and
the blond one, now known as Bill, has been on
the screen since 1921. William (stage) Boyd's
latest picture is "The Road to Reno." Bill
(screen) Boyd's next will be "Suicide Fleet."
He is a native of Cambridge, Ohio, and is
married to Dorothy Sebastian. The William
Boyd who appeared in the picture you sent me
was the chap from the stage.
Marie Kennrey, Xecacnee, Mich. —
Harry Carey is very much alive. His latest
release is " Bad Company," with Helen Twelve-
trees, Ricardo Cortez and John Garrick.
Colleen Moore's ex-husband, John McCormick,
is not the great tenor John McCormack. Xote
the difference in the spelling of their names.
Biddy Clark. Xew Orleans, La. — Tom
Mix will soon ride on the screen in a grand
thriller called "Destry Rides Again." You're
not the only young boy who will be tickled to
death to see Tom and his wonder horse, Tony,
again on the screen.
Mrs. Richard Lederma, Xew Yorx City.
— Xorma Talmadge's first talkie was "Xew
York Xights." The very first 100 per cent
feature length talkie to be released was "Lights
of Xew York." Cullen Landis and Helene
Costello played the leads and it was released in
July. 1928.
Photoplay Magazine for January, 1932
or
■you
scait'
*******
c0i c\ass-
WToCdent^ceS^
stead o*
can^;:_tetl0e ^
Judge by results alone
Listerine Tooth Paste has passed the great-
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Tried by more than 2,000,000 American
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Old favorites at a high price have been dis-
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In order to win such approval, Listerine
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absolute safety in actual use. It did so —
on millions of teeth of varying degrees
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the teeth, but between them. It had to dis-
close ability to remove stains, discolora-
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natural lustre of sound beautiful teeth.
Millions now comment on how ably it
performs these tasks.
The fact that Listerine Tooth Paste sells
for 25c the large tube, effecting an average
saving of $3 per year per person over tooth
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Get a tube of Listerine Tooth Paste to-
day. Use it a month. Judge it by results
only. Lambert Pharmacal Company, St.
Louis, Mo., U. S. A.
THE QUALITY TOOTH PASTE AT A COMMON SENSE PRICE
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PAGE 39 )
John Gilbert and Lupe Velez arriving back from Europe on the same boat.
When reporters and photographers cornered them, John said, "I have
nothing to say. My divorce from Ina Claire is not final." And Lupe was
quite reticent— for her. She only said, "Oh, I think Mr. Gilbert is a
marvelous person"
isn't a romance Evalyn Knapp and Donald
Cook are stepping out together. . . . Irene
Rich has a divorce from her husband, David
Blankenhorn . . . Close friends knew it was
going to happen months ago. . . . Ricardo
Cortez says there's no serious romance be-
tween him and Loretta Young . . . Loretta
still goes around with Mervyn LeRoy, who
used to take Ginger Rogers everywhere . . .
Figure that out, I'm dizzy. . . . Mary Brian
went to a theater opening with Ken Murray,
the vaudevillian. . . . And now there's a
chance the two might become a professional
(not a personal) team. . . . Irene Dunne's
telephone bill is over $700 a month . . .
That's long distance toll charges when she
talks to her husband. . . . When Claudette
Colbert was in Hollywood hubby Norman
Foster wasn't out of her sight . . . That's to
spike divorce rumors.
T OOKS as if the Mae Clarke-John McCor-
mick love affair might play a return en-
gagement. . . . Tom Moore, the divorced
husband of Alice Joyce, married a girl named
Eleanor Merry.
T AWRENCE TIBBETT'S been singing love
songs to a San Francisco girl who has gone
to Reno for something'or other. . . . Xot long
after Walter Huston's divorce was secured he
married a stage actress, Nan Sunderland. . . .
Lupe Velez is still wearing that wedding ring
she says she bought herself. . . . Director
William Wellman and Marjorie Crawford are
whispering those old sweet nothings. . . . Over in
Paris they're saying Ronald Colman is finally
going to get that divorce from Thelma Ray.
They have been separated since 1926.
[ PLEASE TURN TO PAGE 86 ]
T\ THEN " Frankenstein," Universale horror
W picture, was previewed at Santa Barbara,
women screamed, strong men cowered and
little children fainted. The theater was in the
grip of terror.
One man telephoned the theater later and
said he was going to file suit because of in-
juries to his wife, his child and himself. He
claimed their nerves were shattered.
Another man called the manager regularly
every live minutes, to say "I can't sleep be-
cause of that picture and you aren't going to
either. You showed it and I am going to see
that you are as restless as I am."
As a result, the picture has been cut to be
less frightening.
An announcement will be run before it
unfolds asking those who do not like gruesome
pictures to leave the theater!
'TPHE studio wanted somebody to
-*■ play the roles of Leila Hyams'
mother and father in a picture.
Leila's own mother and father, who
are the Hyams and Mclntyre vaude-
ville team, applied for the job. But
the casting director said they weren't
the type.
OHECK-UPS on the Love Situation: David
^Manners takes Rose Hohart to all the best
places \nd although they insist there
84
It's been a long time since we've seen one of these old-fashioned photos of
a star arriving at work in her swanky, big automobile. It has also been a
long time since we've seen such a display of aigrettes as Marlene Dietrich
affects as she goes to the factory in her Rolls-Royce
Photoplay Magazine for January, 1932
85
"What! Can such Skin Loveli-
ness be had for less than a
PENNY A DAY!
T-H-E
T
ES
amazes fifteen
famous physicians. And thrills
the women of fourteen cities!
Maybe you've already read about the Nation-
wide Beauty Clinic. How 15 dermatologists,
| in 14 cities, tested the leading soaps, creams
and lotions on the faces of their women
patients.
But do you know the two vital facts this
] clinic disclosed?
[1] That Woodbury's Facial Soap secured a
higher scientific rating than any other beauty
aid?
I [2] That Woodbury's proved the least expen-
sive of all accepted complexion treatments?
For a whole month, 612 women cleansed the
left side of their faces with any soap, cream
or liquid of their choice. But on the right side
of the face they used only the creamy lather
of Woodbury's Facial Soap.
While most of the physicians have recom-
mended it for years as the finest of all daily
skin cleansers ... for both the normal and
the supersensitive skin . . . even they were
surprised at the magnitude of Woodbury's
victory! Even they marveled that in over
79% of the cases, the Woodbury-treated skin
showed a marked improvement over the skin
treated with other and costlier preparations!
Some women are either foolishly frugal or
wantonly extravagant in the prices they pay
for complexion aids. Either they buy ordi-
nary toilet soaps of no dermatological value;
or expensive creams and liquids, whose chief
recommendation is a nice odor.
Woodbury's cannot be judged merely as a
toilet soap. For it is really a scientific beauty
formula in cake form. At 25^, it affords you
35 complete daily facial treatments. No
other beauty method is so economical ... or
so effective.
With these findings of Science before you . . .
won't you at least try the "Woodbury Way
to Skin Loveliness" on your face? Woodbury's
Facial Soap may be obtained at all drug stores
and toilet goods counters.
lOT JUST A SOAP . .
IEAUTY TREATMENT
A SCI tNTlFIC
IN CAKE FORM
John H. Woodbury, Inc., 813 Alfred Street, Cincinnati, Ohio
In Canada, John H. Woodbury, Ltd., Perth, Ontario
I would like advice on viy skin condition as checked, also week-
end kit containing generous samples of Woodbury's Facial Soap,
Woodbury's Cold Cream, Facial Cream and Facial Powder.
Also copy of "Index to Loveliness." For this I enclose io£.
Oily Skin O Coarse Pores O Blackheads O
Dry Skin O Wrinkles O Sallow Skin O
Flabby Skin O Pimples O
Na vie
Address-
1 r932, John H. Woodbury. Inc.
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PAGE 84 J
VERY few people know that Marie Dres-
sk-r's great affection for humanity is the
expression of a hungering and defeated mother
love. Marie once had a baby K'rl of her own.
The baby died a few hours after it was born and
Marie has never quite reconciled herself to the
loss. Marie seldom speaks about it and the
studio does not want it to be known.
\ /fARIK has received hundreds and hun-
•"■•■drcds of letters from people who read a
story about her in the September issue of
PHOTOPLAY called "Don't Expect Too Much"
in which she explained her philosophy of life.
All the letters have told her that she's given
the writers courage. And Marie is all smiles
and just that pleased.
TVAN LEBEDEFF and monocle are to be
-^seen stepping out with Irene Dunne . . .
Irene's husband asked Ivan to keep Irene from
getting lonely. . . . That noise you hear is
the flutter of stork's wings over Bessie Love's
house. . . . Sidney Fox danced with Eddie
Buzzell just once and that's how the rumor of
their engagement started. Matter of fact,
Sidney's heart belongs to another. . . . Peggy
Shannon has a perfectly good husband named
Allen Davis. They were married for two years
but Hollywood didn't know about it.
"All ashore," cried the stewards of the Europa, and Douglas escorted Mary
back to the pier while he and his party, including Lewis Milestone, director
of "All Quiet on the Western Front" and "The Front Page," set out to make
the second of his travel pictures in Europe and Central Asia
A SCENE in one of Wally Beery's pictures
■* *■ called for some trick stunt for which a
double was needed.
But where to find a human replica of the
235-pound, rubber-faced actor?
Casting directors bit their fingernails and
jumped up and down on their hats. And then
— oh, happy days! — a producer visited the
Los Angeles jail. He saw a man who would do
perfectly as a double.
"What's he in for?" he asked excitedly.
"He's been impersonating Wallace Been."
answered the jailer.
A PUBLICITY man stepped up to
•**• Constance Bennett as she ar-
rived at a recent opening and asked
her if she would speak a few words
over the radio.
"No!" she answered briefly.
"Good!" the publicity man an-
swered as briefly.
Connie Bennett looked annoyed.
She likes to be coaxed!
T ITTLE girls who want to make good
shouldn't argue with big directors — not
even if they think the big directors are wrong.
When The Great Lubitsch was looking for a
girl to play the lead in "The Man I Killed,"
he made a test of Karen Morley, a brigh, new-
comer. He gave her the biggest scene in the
story to do and told her how he wanted it
played.
"But, Mr. Lubitsch, I don't believe that
would be the girl's reaction."
Lubitsch carefully explained that the story
made such a reaction possible. "You see.
Miss Morley, you haven't read all of the
script."
"No," said Karen, "but I know what girls
really do."
And that, gentle Annie, is the way she talked
herself out of a grand part.
/CONSTANCE BEXXETT had accepted an
^-"'invitation to attend one of those semi-
public luncheons to be held in downtown Los
Angeles.
On the afternoon before the luncheon, the
director said she could not leave work.
Pathe telephoned Ann Harding and asked
her if she would take Constance's place.
They told her frankly that she was second
choice.
Ann said:
"Well what does that matter! Of course,
I'll be glad to go and help out."
You have to know your Hollywood to realize
just how rare a thing it is for one star to be
willing to play second fiddle to another.
D LZA ROYCE, the former Mrs. Josef Yon
-^-Sternberg, was raving about the splendid
performance Helen Hayes gave in "The Sin
of Madelon Claudet."
"Such acting! And no wonder, she comes
from the stage! All Bollywood actresses can do
is to show their legs!"
Marlene Dietrich is the Hollywood actress
most famed for her legs and Mrs. Yon Stern-
berg is suing the owner of those legs for aliena-
tion of affection.
Kitty! Kitty!
! PLEASE TURN TO PAGE 88 ]
86
Photoplay Magazine for January, 1932
This
takes trying
BUT MAN! IT'S WORTH IT!
87
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simply because such cooly- coolness
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2 Try one pack of Spuds. Don't
stop . . . simply because you're
hardened to instant tobacco kick.
3 Try one week of Spuds. Watch
that noticeably cool taste disappear.
Watch the tobacco taste get keener
and keener. And, notice, how fresh,
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That's it . . . mouth-happiness . . .
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MENTHOL-COOLED CIGARETTES
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Cal York's Monthly Broadcast from Hollywood
| CONTINUED FROM PAGE 86 J
SOME years ago a Hollywood writer secured
some snapshots that Rudolph Valentino had
taken of I'ola Negri and showed them to I'ola.
The star almost fainted when she saw them,
"Ob, what tender memories they bring," she
murmured. "Rudy and I were so happy that
day when we set out for Catalina. The sun
was shining, the sea was like glass. We had a
glorious time. Before we knew it, night was
coming on. You know how it is with people in
love. Time simply flies."
I'ola then told of a storm that came up as
they were on Rudy's yacht and how they were
both almost drowned, adding, "The day that
had begun so beautifully almost ended in
disaster. I knew it was an evil omen and
begged Rudy not to go to New York. But he
went, as he had planned to do, and I never
saw him alive again.
"Unless you have lost someone you love,
you cannot know how terrible it is. It leaves a
void, a space that must always be empty.
Love is like that, you cannot replace it."
The writer was entranced with all this and
dashed home to write the story. She had just
finished it when the afternoon papers arrived.
The headlines read, "Pola Negri Leaves for
France to Wed Prince Mdivani."
Love is like that.
THEY asked Clark Gable point-
blank, in an interview the other
day: Are you naturally affectionate?
To which all he'd reply was : "Well,
I like feminine companionship."
TLJELEN HAYES— and you'll be hearing
*■ "Tnore and more and more of her — went to
see her picture "The Sin of Madelon Claudet"'
when it was playing on Broadway. It was the
first time she'd seen it and she was being
critical of her own work, wishing she'd done
that scene another way, knowing she could
have gotten more out of that one, when sud-
denly she became conscious of stifled sobbing.
She looked up to see seated next to her a large
man with tears running down his cheeks. He
looked at Helen and, not recognizing her, saw-
only that her face was tearless.
In quite a pet he said, "Haven't you any
heart? How can you sit here and look at this
picture without crying?"
XTARIETY says it actually hap-
" pened.
In a Pittsburgh neighborhood
movie house the film showed a chem-
ist working in his laboratory with
test tubes, bottles, etc. Suddenly a
kid in the audience shouted out:
"Lookee, mom, that's just like daddy
making beer!"
T_JERE'S an elegant story they're telling
■*■ -*-along Boul' Hollywood. Seems that one
of the reasons that caused Ina Claire and Jack
Gilbert to play the big divorce scene was that
Ina insisted upon rearranging all of Jack's
rooms. She'd not been living three days at his
house before she was adding on wings, moving
furniture and getting new rugs. Jack didn't
like that. He'd Used in that house for a long
time and it suited him right down to the
foundation.
They were divorced, but lately, before Jack
went to Europe, they've been seeing each
other at parties and are friendly again. One
afternoon Jack invited Ina to his Malibu
house for tea. Ina walked into the living room
and said, "Oh, what a sweet place, Jack, but
don't you think it would be more attractive if
this chair were over here by the window and if
those drapes were held back like this?"
"No, I don't," said Jack with one of those
grim and determined frowns on the Gilbert
brow, "and, hereafter, we'll have tea at
restaurants."
"D IGHT after Leatrice Joy was married to
■'-MYilliam Spencer Hook, one of those Los
Angeles bluebloods, she dashed to the nearest
postoffice and mailed her orchid bridal bouquet
to her ten-year-old daughter, Barbara. Jack
Gilbert is her father, you know. Later Barbara
said quaintly, "I could hardly keep the tears
back when I opened mother's wedding bou-
quet."
Only the Conrad Nagels and a man friend
of the groom were present.
Leatrice says she has no further interest in
pictures now, as she means to give all her time
to being a wife and mother. Immediately she
has two or three picture offers. They are living
in the old family residence of the Hooks on
Sixth Street.
[ PLEASE TURN TO PAGE 90 ]
It takes something
pretty good to give
the prop boys, elec-
tricians and camera-
men a thrill, but re-
gard the rapt gazes
that Dolores Del Rio
inspires when she
dashes off a fancy
rhumba for her new
picture, "The Dove."
Get the position of
the two cameras. One
photographs the Del
Rio face and the
other picks up the
feet. Director Her-
bert Brenon stands
by in order to guide
the foot work
88
J.
Photoplay Magazine for January, 1932
89
SPECIAL
HOLIDAY
OFFER
This Beautiful Book of
250 De Luxe Art Portraits
oj Leading Film Stars
NOW
ONLY
50
c
STARS £ PHOTOPLAY
This de luxe edition of the "Stars of the Photoplay"
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Thousands of copies of this de luxe edition of the
Stars of the Photoplay have been sold at the origi-
nal price of $1.75 per copy, and thousands more at
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No reader can afford to be without a copy of this
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The outside measurement of the book is 714 x 10H
inches, and the size of each portrait is 5J^ x ^Vi
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The portraits are rich, rotogravure reproductions,
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kind of information that you want.
The cover is a handsome Red Art Fabrikoid with
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An Ideal Christmas Gift
The Stars of the Photoplay will make an excellent
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Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PAGE 88 ]
International
The most beautiful Hollywood romance of the month! Francis A. Gudger
loved Marjorie Rambeau long before the theater-going public did. But
her family insisted on her career. She married a couple of times. He
married once. And suddenly (she is 39 and he 54) they eloped like a
pair of high school kids to Yuma, Arizona, and vowed they'll never be
separated again. Marjorie is through with pictures, she says
/TVROLE LOMBARD says she won't be
^-''knitting any tiny garments until her
career is finished. And Paramount demands
her services for four more years. . . . Chic
Sale was playing old men character roles be-
fore he was shaving. . . . Fifi Dorsay says
that Boston didn't like her Hollywood wiggle.
. . . Perc (make-up-man) Westmore has cre-
ated gold eyelash paint. He says it's to be
worn with evening clothes. . . . The boys who
draw the eyelashes on Mickey Mouse get
S20 a week. . . . Joan Crawford and Mrs.
Clark Cable arc intimate friends. . . . Little
Maria Dietrich stays on the set all day long
while her famous mamma Marlene is at work.
. . . Linda Watkins greets her friends by
shouting, "Whoopee, Hollywood!" Which is
a little crazy but it gets a laugh. . . . Russell
Gleason and Papa Jimmy pass the collection
plate at a Beverly Hills church . . . They vie
with each other about who can collect the
most money.
VWIIKX Clark Gable walks into the studio
*^ lunchroom all the boys and girls "who
knew him when" rush to him, pat him on the
90
back and say, "Clark, old boy, old boy, we
always knew you could do it."
But they didn't. They used to think he
was a ham actor.
And Clark knows that the minute he makes
a couple of no-good pictures and the dimples
don't flourish, his fair weather friends will be
colder than dead love.
/^LARK used to wear a beret a lot a few
^-^ weeks ago. Now he wears a felt hat; his
valet has the ex-Gable beret.
Reason: too much kidding.
■pvIRECTOR "Trader Horn" Van
-1-^Dyke was telling a friend that in
Africa wives can be bought for a
dollar.
"Well, a good wife is worth a dol-
lar," answered the friend.
JACKIE COOPER'S grandest possession at
•'present is what every boy dreams of — a
pocket knife.
But it's not an ordinary knife. Besides a
blade, it has a screwdriver, a corkscrew
(imagine, for Jackie!), a tiny saw, an awl,
and a few other gadgets in it.
It was a gift from Wally Beery, after he and
Jackie had finished "The Champ" together.
CHE was one of those ga-ga sim-
w-'pering little ingenues and she was
going to repeat that formula which
she had used at every theater open-
ing in spite of supervisors and unre-
newed contracts. "Oh, this is a
lovely opening," she gushed into the
microphone. "I wish my mother were
here."
"Then why didn't you bring her?"
a newsboy yelled out.
SAYS Florabel Muir in The Hollywood
Herald:
"Paramount daily routine offers no bigger
moment these days than that solemn one
which marks the arrival of Josef Von Stern-
berg and Marlene Dietrich for luncheon each
day. In dignified stride, looking neither to the
right nor to the left, recognizing no one, bow-
ing and speaking not in the least, these twain
make of the luncheon ritual a sort of unsched-
uled personal appearance among mortals.
Recently there was Use majcslc committed
though doubtless Joe and Marlene haven't
heard about it yet.
"Happened that young Robert Coogan was
having luncheon with his mother at the time
the grand entrance was made. Robert is a
serious kid and never says anything he doesn't
mean.
"Perceiving Joe stride in leaning on a
stick he turned to his mother and said: 'Look,
mother, that's Harpo Marx.'"
International
They're back again — the Pickford
curls. Tnie, they're not as long as
they once were but they're curls just
the same. And here's a little secret,
but don't tell anybody we told.
Mary's given up screen sophistication
and is looking for a story in which she
can play another kid part. That's the
real reason she's letting her hair grow
Photoplay Magazine for January, 1932
91
STRANGEST of all the friendships in Holly-
wood is that of Marlene Dietrich and Anna
May Wong. The two met years ago in Berlin.
They're the most striking pair at the studio
when they stroll into the restaurant — Marlene,
blonde and Prussian, in a sky-blue flowered
dressing gown; Anna May, dark and Oriental
in a lacquer red Chinese robe.
[ PLEASE TURN TO PAGE 92 ]
This, girls, is one of those informal-
formal affairs that you wear from five
o'clock on. Jet sequins form a glitter-
ing costume for Tallulah Bankhead in
her new picture, "The Cheat." Even
her jaunty cap gleams, giving the
whole outfit the look of medieval
chain-mail. The blouse is white satin
belted with green and jet beading
Together after ten years. It seemed like old times to both until —
rr
Lorn has done very well/' she said . . .
but her hands told
a different story
It happened just about the middle
of luncheon. Frances, smiling and
charming, in lovely Paris clothes,
Millie, talking with gay animation.
"And Tom has done awfully
well," Millie was saying. "He's
manager of the new factory — "
Just then Frances' eyes fell to
Millie's hand resting on the white
tablecloth. It was just a fleeting
glance. But Millie noticed. Her
voice died away as she looked at
her own hands. How red they were.
How rough. How scrubby-looking.
They didn 't look like the hands of a
successful man 's wife.
IVORY
KIND TO EVERYTHING IT TOUCHES
99%M% PURE
THE BUSIEST HANDS can stay as
smooth and white as hands that
never work.
Ivory Soap will wash dishes,
clean your woodwork, wash your
curtains quickly and well. And
Ivory will protect your hands. It
will keep the cuticle soft and even.
It will keep your skin smooth. It
won't spoil your manicure like
strong soaps. Just try Ivory for
every soap-and-water task for one
week — your hands will tell the
world a pleasant story.
Cal York's Monthly Broadcast from Hollywood
[ CONTENDED FROM PA(,1 <H
Hey, Ben Lyon, what's this? Another
Hollywood scandal? Nope, nothing
Like that. Director Herbert Brenon
was so glad to see Bebe Daniels up
and around again after Barbara's
birth that he had to give her a great
big kiss. Incidentally Bebe has let
her hair go back to its real blackness
Y\ THEN" Sidney Fox first came to Hollywood
** they told her she had to impress the vil-
lage boys and girls, so in her fashionable
apartment-hotel, she installed a maid, a secre-
tary, a cook and a chauffeur. All those servants
got tangled up in her shoe laces. And, besides,
Sid was sick of it. She began doling out
notices like a politician doling out platitudes.
Today, she has a cook who also acts as per-
sonal maid and a chauffeur. She can't drive a
car. She takes care of everything else, her-
self, including her fan mail and the household
budget.
"That swank stuff they made me put on is
just a lot of bunk," she says.
A ND if you don't think it's the box-
■**-ofnce that decides the fate of the
stars you should be made to stand in
the corner for an hour.
Sidney Fox's option was up at mid-
night. They showed "Strictly Dis-
honorable" that evening as a pre-
view. The executives sat back and
saw how the audience accepted the
picture. When Sidney went over
big, they rushed to sign her before
the zero hour.
TT was sort of funny that nobody but Photo-
■-PLAY got wise to the fact that Mary Astor
and Dr. Franklyn Thorpe were secretly mar-
ried, for every morning between seven and
seven-thirty Hollywood could have seen them
playing a strenuous game of handball. And
oh, those grand arguments they had about the
game! You remember that Thorpe was Mary's
doctor when she collapsed after the death of
her husband. And he's still her doctor. The
handball games are part of his treatment to
see that she keeps fit.
TTOLLYWOOD gives three cheers and a
■*■ -^rousing ti^er for Clara Bow. The redhead
has completely changed — there's hardly a
spark left in the Brooklyn bonfire. In plain
words Clara's gotten some sense in her head.
Listen to this. Feeling herself perfectly fit,
she decided she'd go to New York before
starting work on her picture, to see some shows.
Immediately reporters started asking her
questions. "Had she and Rex Bell split?''
"Wasn't it true she was going to New York
to see Harry Richman?" "Would she make a
lot of whoopee in the big city?"
Clara knew that whatever she did would be
turned into page one headlines, so she got off
the train at Gallup, New Mexico, and re-
turned to the ranch.
Incidentally, she's begun construction on a
$20,000 bungalow on the Bell ranch and she's
going to live there between pictures.
V\ THEN Clara returned to Hollywood for a
*** few days recently, she said, "I don't
want to talk to anyone or give out any state-
ments until I actually get back to work.
I want what I do, not what I say, to speak
fcr me."
MOTION PICTURE DAILY
spins a good story about Hal
Skelly.
While the actor was in London he
attended church and there saw a man
whose face was most familiar to him.
When the services were over Hal
went up to him and said, "Don't I
know you?" .
"No, but I know you. You're Hal
Skelly and I've seen you in films."
"And you?" asked Hal.
"Well, I used to be the King of
Spain!"
'""THE guest house being built at Pickfair to
■*- house visiting royalty and such will cost
$15,000. . . . The Ontario censors didn't like
"Susan Lenox" so the lads and lassies of La
Belle Canada won't get to see Garbo and
Gable emote. . . . Tom Mix arrived in Holly-
wood with thirty trunks and eighteen horses.
. . . Gertrude Astor and Vivian Duncan met
at court in a rumpus about house rent that
Gertie said Vivian didn't pay. . . . Jeanette
MacDonald returned to Hollywood from
Europe with an enormous sheepdog and a
tiny kitten. . . . Jack Oakie wears his in-
Here's a great lad, and a girl who is mighty proud of Hollywood's finest
toastmaster and after-dinner speaker and the mainspring of all the charit-
able activities of the picture colony. Mr. and Mrs. *ain't she pretty?)
Conrad Nagel, arriving at the Hollywood opening of "The Champ"
Photoplay Magazine for January, 1932
evitable sweat shirt under his Tuxedo coat.
... In London, Jack Gilbert said that after
seventeen years in pictures he was ready to
quit. . . .
r^LIVE BROOK can't read his own hand-
- ^■''writing. . . . You'll see Jean Harlow wear-
ing pajamas on the streets of Hollywood . . .
Oh, they're the kind to be worn on the street.
. . . Nils Asther is teaching Buster Keaton
how to talk Swedish. . . . Clark Gable has
traded the little Ford for a bigger car. . . .
Charlie Chaplin is hiding away in London and
writing the story of his life all by his little self.
. . . Miriam Hopkins gave a dinner party to a
lot of guests . . . All of them were men. . . .
Norma Shearer has bought a bull pup for
Irving, Jr., and housed the canine companion
in a $100 doghouse. . . . Claudia Dell has
gone blonde again. That was just a brunette
wig she wore in "Leftover Ladies."
A MAN, who was to piay the real
■**-Jim Thorpe, world renowned
Carlisle Indian star and American
Olympic hero of 1912 in "Touch-
down," was sent directly to the
make-up department.
After an hour's work the make-up
man said his job was perfect. The
actor asked, "Do you think you need
those lines under my eyes?"
"Of course," the studio man an-
swered. "We have to make you look
as much like Thorpe as we can."
The actor went to the door, turned
and said quietly, "I am Jim Thorpe !"
He was.
"DILL POWELL is a changed man. And you
■^can praise — or blame — the little woman
for it. Bill was once one of those Hollywood
recluses. He and Ronnie Colman and Dick
Barthelmess made up a closed corporation.
But Carole Lombard is a social person, so
she shakes Bill into his dinner coat almost
every night and all the big Hollywood func-
tions find him the life of the party. What's
more he seems to like it.
TT took fifteen women twenty-one days to
■'■complete one gown for Garbo to be worn in
''Mata Hari." Tens of thousands of glass
beads are sewn on the dress. It's a pretty
nifty little frock.
[ PLEASE TURN TO PAGE 118 ]
January
Birthdays
January 1 — Charles Bickford, William
Haines, Pola Negri.
January 3 — Marion Davies, Herbert
Brenon, Eddie Gribbon
January fj — Tom Mix, Loretta Young
January 7 — Leatrice Joy, Adolph Zukor
January 8 — Matt Moore
January 9 — Anita Louise
January 10 — Pauline Starke
January 11 — Monte Blue
January 13 — Kay Francis
January 14 — Douglas MacLean, Bebe
Daniels
January 17 — Nils Asther, Noah Beery,
Patsy Ruth Miller, Grant Withers
January 18 — Oliver Hardy
January 19 — B. P. Schulberg, Virginia Valli
January 23 — Sally Starr
January 29 — Ernst Lubitsch
total
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The Shadow Stage
The National Guide to Motion Pictures
<IU:C IV S. PAT. OFF)
[ CONTINUED FROM PACE 49 ]
R.ACING YOUTH— Universal
ALTHOUGH not for the critical, this
almost redeems itself from triviality by
some tremendously thrilling footage of an
automobile road race. June Clyde falls
heiress to an auto factory. Prank Albertson,
the young test driver, demonstrates his devo-
tion and skill by piloting one of her cars to a
victory that means fat foreign contracts and
happy days at the plant. Louise Fazenda and
Slim Summerville carry the comedy.
RICH MAN'S FOLLY— Paramount
GEORGE BANCROFT deserves a nice
shiny medal for getting sympathy out of
such an unsympathetic role. It's all about a
shipbuilder, ambitious for his son to carry on
the business. Bancroft plays with conviction
and Frances Dee, as his daughter, is lovely.
David Durand gives a touching performance.
Stark drama.
GOOD SPORT— Fox
AX excellent cast, some clever dialogue and
interesting camera effects almost overcome
the handicap of a poor story. So you will not
be entirely disappointed in this picture, even
if you do know that old plot by heart. Linda
Watkins, as the neglected young wife, decides
to sample some of her husband's freedom —
you remember the rest. This Watkins girl
might be another Connie Bennett — but not
with stories like this.
SAFE IN HELL— First National
THE only redeeming thing about this pic-
ture is the fine work done by Dorothy
Mackaill and Xina Mae McKinney, the col-
ored actress. The story is sordid. Dorothy
plays a shady lady, weighted down with a past
that costs her her life. Victor Varconi, Wallace
Morgan, Ralf Harolde, Donald Cook and
other good actors are in the cast.
MORALS FOR WOMEN— Tiffany Prod.
YOU'LL find a few entertaining twists in
this — "it's the woman who pays" story.
If for no other reason, it deserves a hand for
bringing back that good trouper, Bessie Love.
Con way Tearle is the menace this time, while
good looking John Holland does right by the
gal! Edmund Breese does a grand bit as the
lather.
SUICIDE FLEET— RKO-Pathe
•"THIS one puts the war on a wit and wise-
*■ cracking basis. James Gleason, Robert
Armstrong and Bill Boyd are the familiar
Three .Musketeers — this time in the Davy. It
t live up to its sinister title until near
the end, when a decoy mystery boat, to which
they are assigned, battles with submarines and
a destroyer fleet races to the rescue. Then it
is a grand spectacle.
FREIGHTERS OF DESTINY— RKO-
Pathe
ANOTHER fast-moving Western that will
delight the kids. At iast Tom Keene
(erstwhile George Duryea) gets a break. The
boy has a nice personality. His leading woman
is lovely Barbara Kent. Some beautiful
photographic shots, cowboy songs and de-
lightful comedy put the ginger in this one.
n
THE SPECKLED BAND— First Division
ANOTHER English cast, in another old-
■*»■ fashioned Sherlock Holmes story that is,
in spite of everything, an amusing movie which
will keep you in your seat until the last "de-
duction"' is made. Although British "thrillies"
are not as spectacular as ours, this is enter-
taining. Holmes and the ubiquitous Watson
discover sinister East Indian death methods
being used in an English country house.
NECK AND NECK—Thrill-O-Drama
nrilE presence of Stepin Fetchit partially
■*- saves this film from a complete case of the
doldrums. All the old gags are trotted out
And now they're wrapping beauties
up in cellophane. But Karen Morley
thought this idea up herself. So
Karen is carrying a big piece of cello-
phane with her and when a sudden
shower blows up that $22.50 hat is
protected. Smart gal!
along with the horse that wins the race. And
it doesn't matter whether we tell or not, you
know it's going to happen. Glenn Tryon and
Vera Reynolds struggle valiantly with the
story, but it's Stepin's picture — if anybody
wants it.
RANGE LAW— Tiffany Prod.
HTHIS is pretty wild and woolly and taxes the
*■ credulity worse than a gangster's alibi, but
kids won't mind an inconsistency or two when
Ken Maynard is the hard-riding cow puncher
who proves the villain is a villain and wins the
beautiful blonde in the last reel. It's one of
those Westerns and if you care for the type,
you'll like this.
THE TIP OFF— RKO-Pathe
A SPRIGHTLY, amusing little comedy
* *• with that fresh guy Eddie Quillan. who
never makes the mistake of being too fresh.
As a radio repair man he gets mixed up with
gangsters and prize-fighters, but comes up
smiling and with the girl. Robert Armstrong
plays another of those punch-goofy fighters.
Ginger Rogers and Joan Peers are good.
SURRENDER— Fox
VWARNER BAXTER deserves much better
w stories than this. This is about a French
officer, taken prisoner by the Germans, and
confined in a castle owned by a rich baron and
his niece (Leila Hyamsj. The Armistice just
comes in the nick of time. But you can't
get excited over it.
X MARKS THE SPOT— Tiffany Prod.
•"THIS one apparently started to be a gang-
*■ ster picture but the producers changed their
minds in the midst of things and made the
hero a newspaper reporter. It follows the fa-
miliar pattern of other gangster-newspaper
stories inspired by the Lingle case. But it
builds to a terrific climax with Fred Kohler
and Wallace Ford, which is its only kick.
OPERA BALL—
Greenbaum-Emelka Prod.
•"THOUGH your German may not be up to
•*- par. the English lines flashed on the screen
from time to time will make it possible for you
to follow this sprightly little tale of Viennese
night life. The colorful setting of the masque
ball, a clever cast and rollicking dance rhythms
all go to make this the charming picture that
it is.
THIRTY DAYS— Patrician
T3 OTH Betty Compson and Maureen ©'Sul-
livan turn in good jobs in this story which
tells of the regeneration of a wealthy tenement
owner and her thirty days in jail. Clean, en-
tertaining drama with nice comedy touches.
THE SPORTING CHANCE—
Peerless Prod.
'"THIS is story number 472-A. filed in every
■*■ producer's cabinet and labeled "racetrack
pictures." The famous young jockey throws
the race and is redeemed in the last reel by the
love of the stable-owner's daughter. William
Collier, Jr., James Hall and Claudia Dell
couldn't do much with this one.
GAY BUCKAROO— Allied Prod.
A XOTHER variation of the bashful cowboy-
■**-tough gambler-beautiful rancher's daugh-
ter theme. Hoot Gibson does his best, Roy
D'Arcy his worst, and Merna Kennedy looks
her sweetest.
WORKING GIRLS— Paramount
TTHE story and dialogue in this one didn't
■*■ "jell." All about two beautiful blondes
from the country, who learn about city life
from a couple of slickers. It's a good cast —
Judith Wood. Dorothy Hall, Paul Lukas and
Buddy Rogers — but they simply didn't have
a chance with the story. Xot even a comedy
hit by Stuart Erwin saves it.
THE DEADLINE— Columbia
HERE'S Buck Jones in a Western you can
easily reconcile with your intelligence be-
cause of its unusually good plot. Paroled from
an undeserved prison term, the hero comes
back to his home town in the hills and makes
good with his riding, shooting and detective
work. Much better than the average horse
opera! And there's a clever youngster in it
who troupes like Jackie Cooper.
Keystone
"And, mother, you'd never believe it,
but in Hollywood nobody drinks tea
and they go bathing in their back
gardens !" Maybe that's what Elissa
Landi is telling her mother, the
Countess Zanardi-Landi, as they stroll
down the Mall in jolly ole London.
Elissa, fresh from studio triumphs,
was visiting her home in England.
Her mother accompanied her back to
Hollywood
TAXI— Warner Bros.
TS everything a racket? Next thing you know
-•-you'll discover that those nice old doll-
makers in Nuremburg run a cut-throat busi-
ness. In this film you get the low-down on
the taxi cab racket, and how the chain op-
erators drive the little fellows off the street.
Jimmy Cagney gives a fine performance, as
does Loretta Young. This is an excellent
picture — virile, well-done and entertaining.
THE GUILTY GENERATION—
Columbia
■"THERE'S no spatter of machine guns in
*■ this beer feud drama — but plenty of action.
LeoCarrillo, as the big shot whose identity
won't cause any guessing, is good. When the
Riccas and the Palmeros carry their war to
the sons— things happen. Constance Cum-
mings and Robert Young are much too cul-
tured for even educated gangsters' kids.
Emma Dunne and Boris Karloff deserve a
hand. Entertaining.
Photoplay Magazine for January, 1932 y^
You are in a
Beauty Contest
every day of
your life!
Buy a dozen cakes of Camay— the world's finest soap. Use it— to the exclusion
of all other soaps, on your face, your hands, your body. Long before the dozen is
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Natural loveliness begins ivith i?nmaatlate
cleanliness. But be sure you use only the
most delicate, the safest, of beauty soaps on
your precious skirt!
The girl above, like every other vooman in the ivorld,
is in the Great Beauty Contest of Life! She has met a
nenxi man — his eyes rest upon her! In a tenth of a
second his opinion ivill be formed. Honv wonderful
to have a clean, natural loveliness that draws a
sincere tribute from everyone.
Delicate Camay, the Soap of Beautiful
Women. Resolve to begin its use today and
open up a nevo era of beauty for yourself
and your precious skin !
A light lather of Camay on the cheek — a brief minute with a soft cloth and warm
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It is soft and feathery to the touch because Camay, the Soap of Beautiful Women,
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c
©1932, P. & G. Co.
AMAY
THE SOAP OF BEAUTIFUL WOMEN
"I'm Not So Sure/' Says Clark Gable
[CO i J\ i J-l> l l«)M J' .
df the Akron Stock Company if his father had
not come to Akron, following his wife's death,
and requested that his only son join him in
the oil fields of Oklahoma. He talked of the
money to be earned in oil. I doubt if that
tempted Clark but he appreciated his father's
loneliness and, inspired by duty, followed his
father to Oklahoma.
Clark hated Oklahoma; he hated his work as
a tool dresser. He says, "I had learned how
to live with myself on the farm and now I
learned that I must live for myself. It was a
terrific struggle. My father couldn't under-
stand. Parents often don't, I have learned
since. I was young, impulsive, hotheaded.
I told him my feelings — 'I do not like this
situation so it is not for me.' I left immediately."
THIS experience was the turning point in
Clark Gable's life. Had he remained in
Oklahoma he would have become accustomed
to living under conditions which he did not
enjoy. He would have accepted them muti-
nously at first, later with resignation. But
when Clark took the train for Kansas City he
left resignation behind. He decided to live
his own life; he has not swerved from that
decision. The words which he told his father
then, have been his motto since: "I do not
like this situation so it is not for me!"
Clark spent the next two years with one of
those little road shows. The largest amount
he made in any week was ten dollars. If he
was fortunate he had three meals a day, but
there were times when a cup of coffee and a
doughnut served for all.
Clark sincerely wanted to be an actor but
ego held him to this little band of troupers.
At that time he thought he knew all the
Thespian tricks and that only lack of oppor-
tunity kept him from being the toast of Broad-
way and Paris.
I wonder what would have happened to
Clark Gable if that company had not gone
Sat broke in Butte, Montana. His pride took
a terrific right to the chin when he found
himself in Butte with seven cents and one
extra suit of clothes. Photoplay has already
told you how he pawned that suit for seven
dollars and rode the rods to Bend, Oregon.
When he tells of that ride, which turned out
to be a battle with death, he always recalls
the beauty of the frozen Snake River glistening
in the moonlight.
And his first words of his landing place,
Bend, Oregon, are a description of the town
nestled at the foot of the three sister moun-
tains. He says the moon was a beacon light
of welcome to a lonely wanderer. This is
typical of the little known side of Clark Gable.
T_TE toted lumber for three dollars a day.
■*■ -MIe says: "That three dollars didn't mean
anything; it wouldn't have meant anything
if it had been twenty. It merely kept me
from starving. The job wasn't what I
wanted to do, so the pay was unimportant."
Before he could save money enough to get
to Portland, which had become his objective,
he joined a wandering stock company that
played the lumber communities. He landed
in Astoria, at the mouth of the Columbia
River. I give you his exact description:
"Danes. Norwegians. Funny little boats;
gorgeous, colorful sunsets. Men pulling in
their fish from the boats to the sand. Kids
waiting on the beach for their daddies.
Washings hanging on the line. Tiny huts.
Women cooking. The entire panorama a
marvel of contentment."
In Portland there wire no stock company
jobs, so he joined a group of civil engineers
and went back into Southern Oregon as a line
man. The part of this experience which he
96
remembers is sleeping under great, warm
blankets beneath star-lit skies, and exchanging
jokes with a group of Eastern university
fellows. Clark, again, stayed only until he
had money enough to get back to Portland
and make another try at the theater.
But once again he was forced into an un-
desirable job, to avoid starvation. He piled
lumber in Silverton, Oregon. When the big
Swede, whose helper he was to be, saw this
callow lad he said, "I quit right now." He
was as good as his word. This piqued Clark
Gable. And he did not leave this job until
the same Swede came back and willingly took
his place beside him seven months later.
"I found a man has two things from which
he can make a living — his brain, his body,"
said Clark. While he was piling lumber he
did not use his brain — only his physical
strength. When he quit he weighed one hun-
dred and ninety pounds.
When Clark returned to Portland, he took
stock of himself. He decided that there must
be something wrong with his acting or he'd
be acting instead of hunting another job.
The time had come for him to give serious
thought to the stage. His next two jobs, one
with the advertising department of a news-
paper and the other with the telephone
company, gave him a good salary and made it
possible for him to study. He located a
dramatic school. His teacher was the woman
who later became the first Mrs. Gable.
Although Clark doesn't wish to discuss this
romance (the first Mrs. Gable is now a school
teacher in Los Angeles), it is not difficult to
picture what happened. He had decided
that acting was the only profession that could
satisfy him. He had worked hard for more
than three years, but he had worked aim-
lessly. Then, he met a woman who knew
dramatic values. She was the first person
who said, "I will teach you!" She showed
the country boy from Cadiz how he might
be released from life's dull monotony.
IT took infinite patience. The conceit built
during those two years of association with
other self-centered troupers had left its mark
upon Gable. She must give him a new view-
point before she could teach him at all. This
woman was several years older than Clark.
A younger woman would not have had the
understanding to give this boy what he
needed and sought.
When she left Portland and went to Los
Angeles, Clark soon followed. They were
married in the Southern city, and Gable
turned his eyes toward Hollywood, but he
was shrewd enough to see that extra work
got him nowhere. By now Clark wanted
something definite. Gone were the pig-in-a-
poke days!
He turned to the stage and seized the
chance to play an infinitesimal role with Jane
Cowl in "Romeo and Juliet," and with this
company returned to Portland.
Although he had progressed very little,
professionally, he had gone a long way as a
person. He says of this appearance with Jane
Cowl: "I realized how little I amounted to.
They could have put anyone in my place at
any time and he would have done as well.
But I was thrilled because I was with a worth-
while company of fine actors and actresses. I
knew that it was the first definite oppor-
tunity I had been given on the stage to learn
something from watching others. I laughed
at myself when I remembered how much I
thought I had known in that little stock com-
pany!
"I very suddenly found my sublime ego
turned into an inferiority complex. I began
to believe that I would never make good in
the profession that meant more than anything
else in the world to me."
We all have our periods of false prosperity
when we optimistically believe that the
struggles of life are behind us and Utopia
before us. That period came to Clark when
he returned to Los Angeles. Jane Cowl
handed him a complimentary letter to pro-
ducer Louis O. Macloon.
He played "What Price Glory?", "The
Copperhead" with Lionel Barrymore, "Ma-
dame X" with Pauline Frederick, a drunken
sailor in "Lullaby" and the comedy lead
opposite Nancy Carroll in "Chicago." Be-
tween stage engagements he was a movie
extra. He made several screen tests. But
producers told him that his ears were too big
and his personality unsuited to pictures. Now,
these same producers are using language so
strong that it can't. be printed, every time
they pick up their newspapers and read about
Clark's success.
V\7ITH the closing of "Chicago" he found he
W could secure no more engagements.
Troubles are like ants; they never come
singly. Domestic worries came along with
his unemployment.
Refusing to discuss the reasons for the
separation from his wife he merely repeats
the slogan he adopted when he left the de-
tested oil fields of Oklahoma. "I do not like
this situation, so it is not for me."
Clark joined a stock company in Houston.
Texas. For the first twelve weeks he was
second man and heavy; but for the remainder
of the thirty-seven weeks engagement he was
the leading man. Of course, he should have
been the matinee idol of that city. But the
simple truth is, he wasn't. He doesn't seem
to have caused one spectacular heart-throb
among the girls of Houston.
Broadway is the common objective of all
stage novices. As soon as Clark had saved
enough from his two-hundred-dollar-a-wick
Houston salary he headed for X'ew York.
Lady Luck wore her most benign smile the
week of his arrival. She gave him the lead
immediately in "Machinal," under the di-
rection of Arthur Hopkins.
He says, "I had done nothing to deserve
such a role but I happened to look the part."
When he had completed this. Lady Luck
again held out her hand and led him directly
into "Conflict."
While he was working in this latterproduction
Mrs. Gable secured a divorce in California.
There were other Xew York productions.
And during one of them the present Mrs.
Gable came backstage. She did not come to
see Clark; she was with a group of friends who
knew other actors. The two met accidentally.
Contrary to erroneous reports, she was not an
actress, and has no desire to be.
They were married in Xew York, before the
first Mrs. Gable's divorce was final in Cali-
fornia. How little either realized then the
complications which were to follow! They
were legally wed in Xew York but not in
California, where one cannot remarry until
a year after a divorce. They figured that was
all right since they had no intention of going
to California.
BUT fate does not pause to remember Ameri-
ca's strange divorce laws. Just when Clark
was closing in "Love, Honor and Betray,"
with Alice Brady and the late Robert Williams.
Macloon telegraphed him to come to Cali-
fornia for "The Last Mile." Gable took an
airplane and paid his own expenses to make
certain he would arrive in time to accept the
engagement!
(iangsters had become the vogue in pictures.
Photoplay Magazine for January, 1932
97
Clark was stalwart and he was suave; he was
handsome, as producers visualized gangsters
to be handsome. He made several tests and
accepted the role of a cowboy heavy in "The
Painted Desert," at Pathe. While working
on that he signed a contract with Warner
Bros, to make "The Finger Points" and
"Night Nurse." It has been said that M-G-M
loaned him for these parts before they knew
the sensation he was to become. This is
untrue. He signed for these roles before he
went to M-G-M.
While waiting for these to go into pro-
duction he played a bit in "The Easiest Way,"
with Constance Bennett at M-G-M. Then
in Joan Crawford's "Dance Fools, Dance."
You know the rest of the story. No one, in-
cluding Louis B. Mayer, head of the studio,
and Clark Gable himself, could see what was
to happen. The success of Garbo was an
accident — so was that of Valentino. Millions
have been spent on making Hollywood stars.
But the greatest of them all have been created
without forethought and without investment.
Almost overnight, this Gable boy from the
little town of Cadiz became the great screen
lover. Fame simply leapt up and claimed him.
Fame has its penalties. Right now Clark
is trying to beat the sure law of compensation.
If fame is to bring tribulations in excess of
its rewards — he believes he is ready to sacrifice
fame.
He had his first taste of fame's demand when
he had been in Hollywood only a short time.
A newspaper man told him he was not legally
married. He rushed to Santa Ana for a
second ceremony as soon as the first Mrs.
Gable's divorce became final. M-G-M sent
representatives along to see that all the details
were according to the California laws govern-
ing matrimony.
Then Clark read that he had been married
three times; that he had a child in hiding.
He discovered ambitious writers were trying
to unearth sensations about the new film
lover. His wife's age was front page copy.
Now, Clark has the old-fashioned idea that the
age of his wife is nobody's business.
He wanted to hit somebody in the jaw to
show his opinion of people who pried into his
private business.
"You can't do this; you can't do that,"
his studio and his friends told him.
"When I was here before, I could have walked
down Hollywood Boulevard on my hands and
nobody would have paid any attention. I
wouldn't dare walk down the same boulevard
now with my aunt. They would say I had
fallen in love with another older woman."
Which is the reason he was angry the eve-
ning he came to see me. He is in the mood,
now, to say, "To hell with it all!" He sincerely
believes that he can go back to the stage or a
lumber yard or a telephone company and be
happy, if the penalties of fame over-balance
the compensations.
"If I find I do not like this situation it
will not be for me," is still his slogan.
This is a sincere attitude, but not a true one.
Clark thinks it is true because he is baffled and
totally unprepared for what has happened.
I do not mean that he is not prepared for his
profession. I mean that he is not personally
prepared for this Hollywood.
But I doubt that he will leave Hollywood.
When he took his seat in that little Akron
theater and saw that stuffy stock company for
the first time, a new world opened before him.
But he was merely an on-looker. A boy stand-
ing on the wrong side of a plate glass window.
Today he is on the right side. And down
underneath, even though he does not recog-
nize it, he adores the tinsel and bright bubbles
of fame. That is human nature.
The other evening I attended the opening
of "Consolation Marriage." Huge crowds
thronged the sidewalks to pay homage to the
famous. Suddenly, there was a hush. Then
an uproar so great that I thought Greta Garbo
must be entering. It was Clark Gable.
When the show was completed, Pat O'Brien,
Irene Dunne's leading man, came onto the
stage and said, "The actor who says he doesn't
like this adulation is a sucker. I love it. We
all love it. I only hope it happens to me
again."
Clark is not a sucker. The very fact that
he was there shows he likes it. If anyone
had pictured to the little boy in Cadiz that
opening the other evening, with the liveried
chauffeur, the high opera hat and the cheering
thousands, he would have said, "Gosh! Lead
me to it." He will become adjusted to the chaos
of screen fame. And just as he proved to the
big Swede lumber piler that he could do his
job, so he will prove to the world that he can
learn to accept Hollywood's success and its
idiosyncrasies.
About one year ago when Clark Gable played a minor role as Anita Page's
husband in "The Easiest Way," in which Constance Bennett starred, he
was unknown, but folks began to ask questions about him. But few people
realized that just a few months later Clark himself would be starring
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Thelma Todd
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CONTINUED I RUM PACE 35
fortunes and stupendous debts, for she was not
so hot as a business woman, whatever she
may have thought.
Henri fluttered about Paris with Connie
Bennett — tongues wagged on both sides of the
sea. Gloria was seen with several boy friends
in Hollywood. Then Connie and Hank re-
appeared in Hollywood, and the panic was on!
All was set for the blow-off, and it came in
1930. Gloria divorced Hank in Los Angeles.
.X umber tour. In the summer of '31 Gloria
landed on our shores. In her train was men-
tioned a young chappie named Michael Farmer
— noted once before in the prints as a possible
fiance of Marilyn Miller. Little was known
about the heir-apparent. Papers called him
'•millionaire Irish playboy" — again, as in
Hank's case, researches showed that while the
"millionaire" might have been exaggerated, he
was rich in charm. Suddenly, in October,
staggering news smashed across front pages.
Gloria Swanson and Michael Farmer had
been married at Flmsford, X. V., in August, by
Mayor Murray of that thriving hamlet!
Then the fun did begin!
Sensation! Then puzzlement! What to do?
Cool heads and willing hearts all agreed that
the thing was illegal, offside and out of order.
First, Gloria's decree from the Marquis
would not be final until November, making the
new hitching illegal in California.
Second, some ambitious town clerk dis-
covered that the license was issued in one town-
ship and the knot tied in another — making it
no dice under the laws of the great State of Xew
York.
There was, of course, the trifling matter of
ages. On one line of the application Gloria
gave it as thirty-one — a date on another line
made it thirty-two.
Incidentally, our records state the historic
event took place on March 27, 1898, making
Gloria thirty-three as we rush to press in a high
fever. Michael declared he was twenty-nine
and a broker.
Lawyers were hired and wired. Gloria and
Mike, in California, denied they had lived to-
gether, in order to forestall a possible bigamy
action.
It was almost precisely this sort of dizzy
tangle, you may remember, that very nearly
had the late Valentino tossed into a hoosegow
after a trick Mexican divorce from Jean
Acker in order to marry Xatacha Rambova.
And on Xovember 9, in the little town of
Yuma, Gloria Swanson, grass widow, and
Michael Farmer, bachelor, of this or that
parish of Ireland, were finally and legally made
one, for all the world to see.
Then the cuckoos sang merrily — coo-coo!
coo-coo! — in the orange trees and weeping
willows of Hollywood!
So winds up — and so begins — another chap-
ter in the life of this startling star.
Cecil De Mille made her a silken clothes-
model ten years ago, and millions of girls
adored her. She's been stony broke time after
time, yet she's always lived like a queen and
thrown money around like pants-buttons. She
sank S750,000 in the mess that was "Queen
Kelly," threw it into the ash-can, and made a
great comeback in "Sadie Thompson."
She has always worked like a stevedore.
When the talkies came, the world said, "Ta, ta,
Gloria, you're through. You were a great kid
when you had it." Then she smacked the
world in the nose with, "The Trespasser," and
climbed back to the top over the bodies of the
talkie slain.
Nobody knows what she'll do next — least of
all herself. Good breaks and bad — great talent
and judgment ruled by her heart and emotions,
Gloria will always be the colossal question
mark ot motion pictures.
And is our Gloria through, now that she's
thirty-three and married to Xumber Four?
Hear me! I laugh! Ha ha! She can be
busted and rich half a dozen times more.
For there's only one Gloria. Let us be
grateful for her! She's one of the few colorful
children left in a movie world that grows in-
creasingly businesslike, and efficient, and often
dull!
We Should Have Known
[ CONTINUED rROAI PAGE 60 ]
now firmly convinced that acting was just a
business after all, talked of nothing else. The
way the hard-boiled critics greeted Hardie left
us a little dazed. We were even reconciled to
the long hair Hardie grew for the part. So,
you see, we were pretty thoroughly reconciled.
And then Fva Le Gallienne wrote Hardie.
She had seen him in his Junior class play and
insisted that he join her Xew York company
then. Hardie was for it, of course, as a Xew
York offer doesn't hit an undergraduate or even
a graduate very often. But no. Mr. and Mrs.
Albright and the entire population of Charleroi
were against it.
T/" XOTS of people gathered around in Piper's
-^drugstore to discuss it. I remember.
" No sir," old Mr. Wilkins declared. "If the
boy's set on being an actor, by gum, he ought
to have a diploma to show for it. How's them
fellers in Xew York going to know Hardie's an
actor without a diploma to show for it?"
But Hardie went on to Xew York just the
same.
He did seven plays with Le Gallienne and
then signed with the Shuberts.
After "Such Is Life," with the Shuberts,
George Arliss borrowed him. He played for
weeks with Arliss in "The Merchant of
Venice." From Arliss he went with Otis
Skinner in "One Hundred Years Old." Be-
tween Otis Skinner and young Albright there
sprang up a close bond of friendship. Otis
Skinner believed in Hardie.
Aiul then one night, at the end of the second
act. Hardie missed his cue. He was to inter
with a gay salute. Skinner returned the salute
with a snap and a pretense of rolling the drums.
Hark and forth they would work up, up. up
to the climax until they finally marched oft to
the strains of an imaginary band, a rolling of
98
drums, a crashing of cymbals and a flying of
flags.
Hardie was talking to a friend in the wings
when suddenly he was conscious of a disturb-
ing silence on the stage.
He had missed his cue.
On he dashed with his usual salute.
Mr. Skinner just looked at him. and to the
utter horror of Hardie and the wild delight of
the audience, demanded in loud tones, " Where
in the hell have you been?" And then re-
turned the salute.
He scourged him with words and curses in
the wings. "To think," he said, "I had every
hope in the world for you. Believed in you,
and you let me down." He made for his
dressing-room, Hardie after him. The door
banged in his face. Xevertheless, Hardie
opened it. He stood there with his head hung
down. Determined to take it and have it over.
Reproaches broke and fell about him, but
he never spoke a word, or offered the least
excuse.
Finally there was a pause. An arm was
placed about his shoulders.
" You're all right, Hardie." Mr. Skinner
said. "You can take the gaff."
They are better, closer friends than ever.
After the run of that play, he jumped to
"Gang War," and to the attention of Xew
York's finest critics. "This Albright." they
wrote, "is an actor." Solid, substantial praise
with no flighty adjectives or feverish ravings
from men who knew.
Solid words meaning something definite.
From "Gang War" he went on to "Young
Sinners," and then to "The Greeks Had a
Word for It."
He's a nut, Hardie is. He doesn't do any-
thing the way movie actors are supposed to.
I know as surely as I put my head around
the Albright door and say, "Hello, movie
actor," I'd better dodge. And dodge quick.
For, you see, he doesn't think he is one. He
believes you have to mean something definite
to the fans, like Pickford and Chaplin and
Garbo, before you're of the movies. He says
he's just trying to be. Just trying.
And can you believe it, he doesn't think the
stage actor is the answer to the talkies. He,
so thoroughly of, by, and for the stage, doesn't
think so.
"Some day," he told me, "there will be a
distinct type of actor for pictures. The actors
of the old silent films aren't the answer.
Xeither is the stage actor. It's an art requiring
a distinct type of actor."
IMAGIXE being an actor in Hollywood and
not being the answer to everything in God's '
green earth! I keep telling him he's a nut.
He sits and watches himself on the screen
and suffers audibly. Even when the woman
behind bursts out with, "Oh, there's that
Albright boy we saw in 'Young Sinners.'
I think he's grand," why, even that doesn't
help. He sits and suffers so thoroughly that
one feels like calling an usher and having him
thrown to the lions.
And he'll call up the next day and laugh
like a horse because the iceman didn't like his
picture. "He said he likes Charley Chase
comedies better and he's right," Hardie will
laugh. You see he won't act Hollywood at all.
He's a plain nut.
He walks unheralded into a picture and
steals it from under the nose of a beloved old-
time star. But he would kill you if you even
suggested it. He drives an open Ford that's
the despair of everyone. He jumps out over
the closed doors, up the steps and yells
"Toots," before he opens the door.
Thotoplay Magazine for January, 1932
99
He calls his mother "Toots'" and adores her
openly and shamelessly. He lives with his father
and mother in a little bungalow on a side street
in Hollywood. He attends few parties and
makes little social commotion.
He'll throw his long legs over the arm of a
chair and talk for hours of Charleroi. He talks
the least of himself, and refuses to take himself
seriously but is respectfully aware, and a
little awed, of the spark that burns within.
He shows it in the gestures of his hands and
gleaming eyes.
We have watched him from the time he was
a lad in knee-pants. He's an actor. He always
has been. He came into it not as a quick way
to snib the easy dough or on a detour from
some other profession. He's an actor because
he can no more help being one than you can
help being what you are.
AXD as we rummaged through his scrap-
book, his mother and I, and came upon
letters from George Arliss and one from Otis
Skinner (Hardie will kill me) that began, "My
boy, my boy. I saw you in ' Skyline ' last night.
I knew you could do it," I knew that when
men like these, who have trod the long un-
stable road to fame, can look back over the
heartbreaking highway to a young man that's
just beginning, when they, knowing the rough-
ness of the road behind, can still look back and
say with warm, sincere encouragement, "My
boy, my boy," one knows that within that boy
burns the spark of what it takes.
And long after the blazing sky rockets, the
over-night sensations of Hollywood have
burned out and fallen, a charred ash. to the
earth, Hardie Albright will be going on. Slowly,
steadily, but surely. For Hardie's an actor.
And the ''Hardie" is for his Grandmother
Hardie, in case you wondered.
Auntie Wanted 'Em
Bad
[ CONTINUED FROM PAGE 51 ]
lady's shrieks of delight. "I want to go in!
' I want to go in!" she yelled. We had to tie
her hands and feet with the tow-rope. While she
kicked and bit we drove her to our own home.
It was the only thing to do. She wanted more
villains; but we knew only too well what we
would find if we took her to them.
Victor McLaglen, for instance, would be
working in his famous rose garden, or on his
avian,'. Edmund Lowe would be training
his fox terriers. He has dozens, along with
his yapping gang of Scotch deerhounds. Ter-
riers were not much nearer to blood-and-
thunder than roses and birds.
"D ICARDO Cortez? Ivan Lebedeff? But
-^Ricardo would surely be'found somewhere
in the midst of a throng of worshipping children.
His friends use Ric for a nursemaid. And as
for the suave and deadly Russian, Ivan —
well, even-one in Hollywood has heard his
lectures upon the evils of strong drink and
late hours. And that didn't sound very im-
moral, either!
_ Dear old Auntie, in our living-room, sat
sipping her nineteenth highball. "Nevvy,"
she mused, "them fellers was sure disappoint-
ing. That young Cagney boy shows some
promise, but the others — tch, tch."
"Never mind," we soothed her. "Auntie.
you've had your fling. Don't you think you're
old enough to settle down? Why don't you
go back home and marry some nice fellow?"
"I ain't got no sweetie, no more," she sighed.
"They hanged Jeff last month for hoss steal-
ing." The old lady wiped away a tear. "Yep,
I guess you're right Nevvy. Get me a time-
table. I'm going back to Oklahomie. There
may be wild men somewhere in the world,
but they sure ain't in Hollywood!"
1st Prize
WHY (T) CHANGED -TO MARLBORO CONTEST
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Florence D.
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Hollywood, Cal.
In a restaurant recently I commented
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remarked indifferently,
Xes, but she SPOILS it all by smoking
a cheap cigarette. "
l\ eedless to say, that tip
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"Charlie MacArthur's Wife"
CONTINUED FROM PACE 45
Hollywood loves to beg for these stage players.
Studios figured if she offered her talent she
couldn't be so important.
So Helen contented herself with being
"Charlie MacArthur's wife" and with going to
parties. She and Ruth Chatterton had been
friends in the theater. She went to all of Ruth's
dinners. She swung her feet over luxurious
swimming pools and let the sun embrace her.
She went away from Hollywood and the next
year she came back.
They had heard a little more of her this time
for the "Act of God" baby had been born. You
know about that — how a trick phrase became
attached to a perfectly lovely child. If you
haven't heard the story, write in to Photoplay
and we will tell it again. But this time Helen
didn't even try to work in the movies. She
just basked in the sun and listened to Charlie's
stories about the inside of the studios.
She returned to Xew York and that was
when somebody told somebody that she was
great and they began trying to get her. Helen
laughed a little, signed the contract, which in-
cluded the big salary, and arrived in Holly-
wood to begin work. She was greeted as if she
were a queen. Metro-Goldwyn-Mayer was
proud to announce that they'd scooped all the
other studios in securing the services of one of
Broadway's Big Three actresses. And the
other studios were envious and wished some-
body had told somebody to tell them she was
good.
And Helen Hayes — oh, she was Helen Hayes
now — laughed a little when she thought of the
time when she was "Charlie .MacArthur's
wife" and had had a casting man ask what "the
little lady" did.
All was ilurry and excitement. A new star.
It was announced that she was to make a
picture called "Lullaby." Big sets were built.
Hairdressers and make-up men fluttered about
Helen. People consulted her. A chair with
her name across the back was put on the set.
A big Xew York stage star had come to Holly-
wood. Yes. yes, I know. I realize that it
simply doesn't make sense. But it's the way
of the movies and the movie-makers.
And, then, something happened that almost
threw Helen back into the dark obscurity of
stage stardom. "Lullaby" was begun in May.
They worked on it all summer. It was at last
completed — and previewed. And when she
saw the picture Helen Hayes wanted to go out
and commit first class hara-kiri. Only there
wasn't a convenient doorstep. The picture
was awful, a conglomerate mass of unrelated
episodes. Helen and Charlie MacArthur
begged not to have it released. They even
offered to pay for the cost of its production so
that it could be tossed into the nearest ash-can.
And then Irving Thalberg returned from
Europe or Xew York or somewhere and took
a look at it. He knew it was bad, but he also
knew how it could be fixed. Cutters got out
their shears. Xew scenes and episodes were
shot and — presto — there soon arrived out of the
wreckage a glorious Phoenix — "The Sin of
Madelon Claudet."
"Madelon Claudet" now stands as one of
the grandest tear-jerkers of the season. The
story is, still, pretty artificial, but I defy any-
body to sit through it without spilling plentiful
tears. And it makes every other "mother love
and sacrifice story" look like just so much weak
soup. For Helen has transformed the yarn into
a thing of sublime beauty. She has brought
her fine art to the screen. She has suddenly
become not only one of the first ladies of
Broadway but of Hollywood as well.
She's great. She's everything and — goody,
goody, goody — we'll be seeing more of her. For
as soon as she tosses off a stage play this season
she'U be back in Hollywood to make more
movies. Charlie MacArthur is fast becoming
"Helen Hayes' husband."
She is a delightful little person, rather quiet,
most unassuming, very gentle. She looks not
at all the great actress she is — or rather not at
all as Hollywood knows great actresses. With-
out pose, without mannerisms, she's knocked
the colony for a loop.
It's Helen Hayes the movie star, now!
Ach! ThatPola!
silence on the set. Even the baby subsided.
Four minutes. Five minutes. The door was
opened softly. Pola's beautiful face looked in.
"Ah," she smiled sweetly, "good afternoon,
Hrrr Stein."
"It's Pola," exclaimed the delighted Hcrr
Stein as if she were the last person he expected,
"little Pola." He advanced to meet her.
Everyone smiled. Work commenced. And
the scene was shot.
Arm in arm the director walked to the pro-
jection room with Pola that evening. The
day's work was to be run. Side by side they
sat. The room darkened. The picture began.
OUDDEXLY in the distance, a storm was
^heard approaching. In the midst of a scene
the wind howled and moaned. Thunder crashed
over-head. Strains of wild gypsy music filled
the air. Pola looked at Stein. Stein looked at
Pola. "What iss?" he gasped.
Suddenly two voices rang out.
" Don't you yell like diss at me," one voice
said.
" I will yell all I want to," shrieked another.
It was their quarrel reproduced by sound.
The boys had opened the "mike" and doctored
up the scene with sound effects.
Pola rocked with laughter the day she told
me about it. She pronounced it the best joke
on herself she had ever heard. "Oh, I was in
such a temper," she smiled. She loved it all.
Especially the temper. Quick to laugh at her-
self, she is just as quick to admit mistakes.
" You were tight. I was wrong," she admits.
Humbly. And means it. There is something
tremendous about this Pola.
Her old servants were waiting to meet her
when she returned. "I want them all back,"
she said. " I want Frank who drives so well
and Doris who combs the hair and 'Gumpsy.'
My beloved 'Gumpsy!' " And they were all
waiting, eager to see her, be with her again.
Especially "Gumpsy!''
100
[ CONTINUED FROM PAGE 40 ]
Mrs. Grundstrom, a kindly, dignified woman
who worked in the wardrobe department at
Paramount, has probably been closer, nearer to
Pola than anyone in Hollywood. The very
first day Pola worked on an American set, six
years ago it was Mrs. Grundstrom who came
down to sew on a shoulder strap.
" Xo one could understand a thing she said,"
Mrs. Grundstrom said. "But I seemed to
understand everything. We sort of liked each
other right off. So she asked that I stay with
her on the set to look after her wardrobe and
jewels. And I have been with her on every
picture she has made in America since."
She talked, that quiet middle-aged woman,
of this strange, exotic woman. Her fingers,
worn with years of service, traced the pattern'
of the table cover. Slowly she raised her faded
blue eyes, filled with tears. "I love her," she
said, "as if she were my own daughter."
Which sends a body wrandering out into the
sunshine with a mind full of confusion. A
whole parade of Polas passes by. A Pola of
famous love affairs. A Pola of tantrums. A
child-like Pola. Pola, the princess. And
through it all echoes the sincere words of a
sincere woman, "I love her as I would a
daughter."
And suddenly, for no reason at all, one has a
sudden-vision of Pola at the conclusion of her
tirst day's work in "A Woman Commands."
Everyone was ready to go home.
Suddenly, Pola let out a scream. "My pig.
My pig," she yelled.
The director looked from one to another for
explanation. But everyone looked blank.
"My pig. my pig, where is he?" she cried.
Storm clouds were gathering. The director
stepped forward. "Who," he demanded, look-
ing accusingly at everyone, "has Pola's pig?"
" Xo, no. no," wept Pola. "It wasn't even
here, my little pig."
It was Mrs. Grundstrom who explained.
In the old days, at the beginning of every
picture, a tiny pig was always brought on to
Pola's set. It brought good luck, she thought.
And now the pig had been forgotten.
But, presently, she was all smiles again. She
had enjoyed herself immensely. And, after all,
what did a little pig matter?
That Hollywood should be surprised at her
delightful singing in her picture is — well, it's
beyond her. Hollywood, or any place for that
matter, should be surprised at anything Pola
couldn't do. Her egotism is the frankest, most
unadulterated variety ever seen in a town pol-
luted with ego. But Pola is honest in hers.
Honest and frank. She knows she's good.
She's been places, this woman. Places
people have dreamed of. And not only has she
been there she has lived there. In a chateau
near Paris. A villa on the Riviera, a war-torn
Warsaw. And she's seen people. Famous,
charming people. And not only has she seen
them, she knows them. Intimately.
SHE'S exotic, alluring, and certainly not un-
derstandable. There is too much of Pola
for one woman. So she is two or three women.
There are two or three Polas.
I would rather have a ticket for a matinee in
Pola's dressing-room, to watch her sweep
grandly across the room, or to work herself up
to a gorgeous emotional outburst, or murmur
about past loves, to watch her reduce to a pulp
all Hollywood's cultural aspirants with her new
talk on foreign intrigue — yes, I would rathei
have a balcony- seat at the performance of Pola
Negri, than a box at the finest symphony
concert. Xothing I have ever seen equals it.
But I think I like even better, the naive, half
Polish, half gypsy girl, who stands on the side
lines, jostled by the crowd of onlookers, to
watch a strange and gorgeous woman pas? by.
A Pola who frankly nudges her nearest neigh-
bor and asks, her eyes shining with admiration,
"Isn't she grand? Isn't she just wonderful?"
Yes. I think I like that Pola even better.
Photoplay Magazine for January, 1932
IOI
Short Subjects
of the Month
These three pretty girls looked like princesses. That's
how the trouble (and the fun) began. From "Queenie of
Hollywood," an amusing short reviewed below
QUEENIE OF HOLLYWOOD
Educational-Ideal
Quccnie, a small bull dog, is the cause of the
hilarity in this comedy. Quccnie herself isn't
funny but her name gives three prospective
hotel chambermaids a chance to masquerade as
royalty. Entertaining.
TRA VEL HOGS
Warner- Vitaphone
Two comics named Hugh Cameron and Dave
Chasen burlesque all the travelogue movies
ever made in a snappy short that is full of
pleasant chuckles and more robust laughter.
Good stuff.
THE FRENCH FOREIGN
LEGION
Fox Movietone
This is what the romances don't tell you
about the Foreign Legion. Here, in a fascinat-
ing short, you see them building railroads
across the desert and doing other tough jobs.
Don't miss this.
THE GREAT PIE MYSTERY
Educational-Sennelt
"Who threw the pie?" is the burning ques-
tion in this great mystery thriller, a farce that
pokes fun at all current mystery dramas and
has all the flavor of old pie-hurling Sennett
days.
SKIMPY
Tiffany Prod.
Those funny monkeys — well, chimpanzees,
if you prefer — get together for a big burlesque
of "Skippy." There have been better ones in
this series but you'll get your share of laughs,
anyhow.
II A REM SECRETS
Educalional-Brown-N agel
Said to be the only time a camera has ever
been admitted to a real harem, this is not as
startling as its title. Some harem ladies and
beautiful scenery in color provide the only
thrills.
PEARLS AND DEVILFISH
M-G-M
When you see this, you'll be glad you're not
a pearl diver. Those boys have their troubles,
too. There's some exciting stuff you won't
forget, particularly the battles with the devil-
fish.
SCRATCH AS CATCH CAN
RKO-Patlte
Clark and McCullough become insurance
agents, out to sign up a wealthy but tough cus-
tomer. The gags were old when the Wright
Brothers were new at flying, but there are
laughs in the old wheezes yet. Some good, old-
fashioned slapstick, too.
BLONDE PRESSURE
Columbia
A good Eddie Buzzell novelty with a collegi-
ate background. Buzzell's voice is the only
one heard. He tells the football story as a
radio announcer. It's very funny.
PENALTIES
Tiffany Prod.
If every masculine football fan took his best
girl to see this there wouldn't be so many dumb
questions asked. Coach Howard Jones shows
you what is meant by an "off-side" play, why
"holding" is illegal and several more good
points.
CANINE CAPERS
Educational-Brown-N agel
A treat for dog lovers. You'll see some of
the rare blue-bloods of dogdom — and there is
a greyhound race that has it all over a horse
race for speed and excitement. You'll not find
the actors camera-conscious!
Help Nature
to help you
fight
colds
The "colds" season is now on. Now,
more than ever, it is important to
keep "regular." The doctor will tell
you that keeping the system thor-
oughly cleansed is most important in
the avoidance of colds.
To cure a cold is the doctor's business. No
laxative can do that. But a mild, gentle laxa-
tive can do much to keep your resistance up by
"keeping your system open." In fact, the first
question the doctor is apt to ask when you have
a cold is whether your bowels are "regular."
The doctor will recommend a laxative such
as Ex-Lax. For Ex-Lax is so effective — so
gentle and safe — it simply helps Nature.
What doctors demand
It's important, doctors say, that a laxative
shouldn't be absorbed by the system, and that
it should limit its action to the intestines.
It should not rush food through the stomach,
which might disturb digestion. It shouldn't
over-stimulate and irritate the intestines, thus
weakening the natural functions. It should not
gripe. And it should not be habit-forming.
Ex-Lax actually checks on each of these
points the doctor looks for in a laxative.
That's why leading physicians everywhere
prescribe Ex-Lax so frequently.
Ex-Lax tastes like delicious chocolate. Yet,
it contains one of the most scientific of all laxa-
tives— phenolphthalein — of the correct quality,
in the correct proportion and the correct dose.
Good for grown-ups, too
The next time you need a laxative, eat Ex-Lax
before you go to bed at night. You'll like its
rich, chocolaty flavor. And next morning,
you'll like the easy way that Ex-Lax works.
Its safeness and gentleness make Ex-Lax
ideal for children as well as for grown-ups.
At all drug stores, 10c, 25c and 50c. Or
mail the coupon below for a free trial sample.
lVeep "regular" with
EX- LAX
— the safe laxative
that tastes like chocolate
MAIL THIS COUPON— TODAY!
EX-LAX. IXC, P.O. Box 170 P.H 12
Times- Plaza Station, Brooklyn. N. Y.
Please send free sample of Ex-Lax.
Name
Address
Hollywood's Cruelties to Greta Garbo
[CONTIKl ED l BOU PACE 29
while he was there. lie demanded that Stiller
leave. When Stiller did not go, Jack went to
the Beverly Hills police and demanded that he
he thrown out. We (an never know exactly
what happened hut when the police arrived,
Jack was the one taken to the station. It would
seem that Greta had decided in favor of her
European benefactor. Hut whether it was her
decision or not, her cmharrassment and chagrin
must have been nearly unbearable.
Winn Greta Garbo arrived in Hollywood,
the $250 a week must have seemed a fortune.
By the time she had finished " Love" with Jack
Gilbert, she went on strike for more money, un-
doubtedly at his suggestion or, at least, as a
result of his political tutoring. Jack brought
his manager, Harry Islington, a shrewd trader
with studios, to her. Under the instructions of
these two old hands at Hollywood's political
roulette, she went home. For seven long
months she remained hidden.
STUDIOS do not make large sums of money
on stars who receive thousands weekly; they
would have made a fortune great enough to
erase the possible deficit of other products for
many years if they could have continued to
play Greta Garbo for a few hundred dollars
weekly. By this time, with the release of "The
Temptress," " Mesh and the Devil," and
"Love," she was an international sensation.
Harry Edington and Jack Gilbert knew it was
time for her to cash in on it; the studio knew it
was time for them to do the same. She was
torn between the two, but since the studio had
laughed while Jack had befriended, and since
Mr. Edington was a friend of Jack, she natu-
rally accepted the advice of the latter.
The studio knew, by now, how she detested
personal-life publicity. They knew she still
had the European idea that what she did on
the screen was all that was important to the
public. You remember the deluge of stories
that appeared telling of her temperament; of
such remarks as ''I tank I go home"; of her
refusal to work in harmony on productions, etc.
She read them and tried to understand; she
couldn't.
She told me that she packed her trunk more
than once and that only the restraining hands
of Jack Gilbert and Mr. Edington kept her
from returning to Europe.
Now, she had three people to whom she must
be loyal. When her manager secured her a new
salary at ten times the amount of the original
one, her gratitude was as great to him, at that
time, as it was to Jack Gilbert. I know this,
because Harry I'.dington secured me the inter-
views for the life story. The studio did not
even know that 1 had written it. She did not
wish to have it printed. But when the man
who had won her a new contract and a fortune
asked her to see me, she could not refuse. She
consented to talk about herself, something she
really detested, out of gratitude to a new bene-
factor.
■"THERE was another influence in Greta
■*■ Garbo's life during this period of which no
one has spoken.
Lon Chancy!
Lon, too, was shrewd in discerning talent and
he was always kind to the harassed. He spent
many hours with her while she was making her
first pictures. And he gave her his opinions on
this weird, unparalleled business. He had built
his success upon mystery. He advised her to
do the same. " If you let them know too much
a I iiiu I you, they will lose interest," he admon-
ished again and again.
His advice was identical with that' of Jack
Gilbert and later of Harry Edington. She dis-
covered that all three men. Gilbert, Kdington
and Chancy, agreed. And since their views
ws
coincided exactly with the true desires of her
retiring, peasant-like nature, she followed it.
In the meantime, Hollywood had surrepti-
tiously commenced to build its torture rack for
her. \\ henever a new star Hashes, meteor-like,
on the Hollywood horizon, she is eyed criti-
cally, jealously, even distastefully. That is to
be expected.
When Greta's and Jack's glamorous com-
panionship was at its height, she went to many
parties. That was to please Jack Gilbert, not
Greta Garbo. Jack's appearance at a party
was no longer an event for either Hollywood or
the newspapers. He had been here too long.
Hut Jack's appearance with Greta Garbo, this
glamorous new contender for worship — ah,
that was an occasion!
Her native sensitiveness was enhanced a
thousandfold by the critical attitude already
Listen here, Garbo, leave well
enough alone. You started the Em-
press Eugenie hat vogue. Aren't you
satisfied? Now Greta's wearing this
chapeau in "Mata Hari" and it will
probably start a new fad. Looks swell
on Greta — but what about the rest of
the girls? And think of the poor
milliners working their fingers to
the bone !
evinced toward her. She felt herself the focus
of all eyes. She feared her every move would
be chronicled in the newspapers. It was!
What gossip she did not actually hear, she
suspected. In Europe she had lived in com-
parative obscurity; here, she was like a huge,
newly-erected electric sign — ogled at by a
gaping public. She decided to forego all parties
and social gatherings exactly as she had dis-
carded interviewers. Even Mary Pickford ,the
queen dictator of Hollywood society, could not
persuade Garbo to come from her seclusion.
Necessarily, hostesses did not understand.
Neither did guests. They joined the horde
helping to erect the scaffold of persecution.
And then came the writers!
No spy in a foreign country, under war con-
ditions, has been more thoroughly shadowed
than Garbo has been by Hollywood's writing
sleuths. The lengths to which some of them
have gone are almost incredible.
One man camped before her gate. He waited
patiently. One evening his opportunity came.
She was learning to drive her car. She backed
from her driveway crookedly, hesitatingly.
The man jumped upon the running board and
so startled her that, had another car been com-
ing, there would assuredly have been a wreck.
She said one word: "Damn!'' jerked forward
with such vigor that she threw him from the
running board, and drove zigzaggedly down
the street. Her maid, Alma, who has attended
her at the studio since she became important
enough to have a maid, jumped in while the
ear was rounding the nearby corner. A story
called "A One Word Interview" resulted.
rT"HEN, there was the woman writer who had
■*- married a Swede. She felt this should estab-
lish a bond between herself and Garbo. She had
interviewed Greta several times in the earlier
days. Miss Garbo is as polite as she is sensitive.
Just as she had told me to come back and see
her, so she told this writer. When the writer
called to see Garbo at Metro, a publicity man
went to the set. Miss Garbo was not there.
Hoping to avoid a refusal from Greta which
might offend the writer, he reported she was
not on the lot.
But by a perversity of Fate, Garbo passed in
her car, not ten minutes later, going from her
dressing-room to the set.
The writer was furious, claiming she had
been double-crossed, and insisted that Miss
Garbo was coming to her house for dinner the
next evening. The publicity man returned to
Miss Garbo. Greta's words were to this effect:
"What shall I do? She is a writer. If I see
her, I must see the others. I cannot show par-
tiality. Xo, I did not promise to go to her
house to dinner. I do not know her well
enough. I do not dine with people whom I do
not know well, not even my countrymen. But
I do not wish to hurt her feelings. Please make
some excuse so she will not be offended."
The publicity man tried to be tactful. But
the writer, who had brought a third person to
introduce to the "great Garbo," was furious.
She telephoned Greta at her home. Greta
would not talk to her. So this writer joined the
belligerent herd as I myself had joined it and
for practically the same reason.
Which is the main reason why she has so few
friends. She liked Fifi Dorsay. Fifi was
young, impulsive, unable to understand upon
such a brief acquaintance the reasons for
Garbo's reticence. In fact she was incapable,
because of the differences between the French
and Swedish natures, of comprehending at all
the complex motives for Garbo's silence; she
gabbled all she knew. Libyan Tashman also
talked during their brief friendship. There
were others. So she cut friendship from her
life as she had cut interviews and social gather-
ings. _
I wish to give you just one more example of
how writers have hounded the woman, because
it is illuminating of her nature and has not been
told, before, in its entirety.
WHEN Jack Gilbert married Ina Claire,
Hollywood took it for granted that Greta
Garbo was broken-hearted. One paper carried
a headline, Garbo Collapses As Gilbert Marries,
and immediately beneath, another: Beauty
Tries To End Her Life. They were two
separate stories. But it looked as though
Garbo had attempted suicide and, since many
failed to read both stories, it was generally
taken for granted that this was the case. This
thoroughly alarmed Garbo. It was definitely
detrimental to her career to be reported near
death. As for her being broken-hearted I think
that Greta was secretly glad that there was
another woman.
We all know there has been a break between
Greta Garbo and one of her most successful
directors, Clarence Brown. But I think the
Photoplay Magazine for January, 1932
original break between the two came from a
cause which no one suspects. Dorothy Sebas-
tian played in one of her pictures directed by
Brown. The Sebastian-Brown romance was at
its height. Just as Antonio Moreno had
suspected Stiller was favoring Garbo, she
supposed Brown might favor Dorothy. She
utilized some of the political technique she had
learned by watching it used upon herself.
IT was in the silent days and the orchestra
was playing music to help Dorothy in her
scenes. Garbo said she could not stand the
music. No matter what the orchestra played,
she could not stand it ! She broke up Dorothy's
scenes again and again. The director raved.
Garbo paid no attention. For once, she had
someone else on the defensive and was humanly
taking advantage of it.
But this is an unusual case. As a rule, the
people working with her ardently adore her.
Ramon Novarro is, today, completely cap-
tivated. He, together with Clark Gable, Gavin
Gordon, Robert Montgomery and others
acclaim her as more than generous in her
anxiety that they have a fair opportunity in
her pictures.
I have never been able to locate one (and I
have talked to literally hundreds who have
worked with Garbo) who classifies her as tem-
peramental. They all protest that she never
raises her voice, never allows herself to become
agitated over big or little troubles. True, she
fights for her rights, herself, today, as formerly
Mauritz Stiller, John Gilbert, Harry Edington
and Lon Chancy fought for her. But she does
it quietly, with assured firmness.
Lonely? Certainly! How could a woman of
any country, in her isolated position, be any-
thing but lonely?
Unhappy? Happiness is a matter of per-
sonal ratio. Greta Garbo is not exuberantly,
joyously happy. Few of us are. She is not
even contented in the usual sense of that word.
But she has acquired a certain amount of
resignation.
Writers are busy right now getting her out of
this country. They prophesy she will return
to Europe at the completion of her present con-
tract. And yet, she has just decided to buy a
home! She has actually just concluded to
remain in California.
Her reason is simple. She is accustomed,
now, to the burdens of her adopted location.
She has become acclimated to California and
could never become acclimated to the Sweden
which would confront her today.
TIJOLLYWOOD has killed the spirit of many
■*- -Malented people but it has been unable to
kill the spirit of Greta Garbo. Not even poor
stories for her pictures have been able to do it.
That, like everything else about her, is un-
precedented. "Inspiration" was not a very
good picture. It hurt Robert Montgomery. It
did not hurt Greta Garbo. Just to watch her,
in good pictures or poor, seems to be reward
enough for box-office patrons.
We must all pay some penalties for our
glories. Garbo has paid, and paid, and paid.
Ah, another picture scandal. Nicholas Schenck, president of the Metro-
Goldwyn-Mayer company, threatens to sue his Great Neck, Long Island,
neighbor, Tommie Meighan, for alienation of affection. Every time
Tommie goes to Hollywood to make a picture, little Martha Schenck is
broken-hearted until Uncle Tom returns. We would say this picture is
prima facie evidence
n
unJtji Jumnfi
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The Unknown Hollywood I Know
vriNl/ED FROM PAGE 57 ]
what she wanted from men, give them all a
fifty-yard handicap and win in a walk.
Whether she knew her power or not I do not
know. But she got what she wanted and all
she had to do to secure the biggest salary from
an executive, or a new cover for her dressing-
table from the prop boy, was to ask for it in her
gentle voice.
There was but one man who did not come
under her spell. That was Jack Gilbert. He
worked with her. Jack played the bounding,
lusty Rudolph to Lillian's wan Mimi in "La
Boheme." On the set these two personalities
clashed like cymbals in a symphony orchestra.
JACK is emotional. And he trusts his emo-
tions entirely for his art's sake. When he
fails to listen to them he's wrong. With
rehearsals he had no patience. The first time
he did a scene was always best. He ch;
out a character with a heavy mallet, he painted
bold strokes upon the canvas of the silver
screen. This is, of course, one of the reasons
for his first failure in the talkies.
But Lillian is an artist, a craftsman. Her
performance is like a fine Italian mosaic, each
tiny piece of her art laid carefully by another
tiny piece. She never trusts her emotions. In-
stead it is her intellect that guides her. In fact,
even in those silent days when everybody em-
ployed music on the sets to "get in the mood,"
Lillian refused the wail of an orchestra because
it played upon her emotions and confused her
so that she did not know when she was really
giving to the camera or merely reacting, inside,
to the music.
She loved to rehearse, and the thirty-sixth
time she played a scene was thirty-six times
better than the first — so craftily did she build
her characters. So it is easy to see what an
unhappy cinema union was Jack's and Lillian's.
Jack was worn and cross by the fifth rehearsal,
just as Lillian was beginning to get it. He
would come off the set exhausted and throw
himself prone upon his dressing-room couch.
The picture was finished at last. It was pre-
viewed and, although it was a passionate love
story, there was not a single kiss in it. This
was Lillian's wish. But a friend of hers, in
whom she put much confidence, told her it was
impossible to have an ethereal love between
Rudolph and Mimi. There simply must be
kisses !
Grim and determined, Lillian walked on the
set for retakes the next day. Grim and deter-
mined, she kissed the then great lover of the
films. She kissed him again and again for the
camera and left the set, still grim and deter-
mined, saying, "L'gh, I feel degraded."
But I do not want you to get the impression
that Lillian Gish was not human. In fact, that
is one of the many misconceptions about her.
Wither her sweetness nor the demure atti-
tude she assumes is a pose. She is really that
sort of person, a gentle, calm, ladylike creature,
but withal a real person. It's the look of her
that sends people off into moronic ravings and
makes those who come before her presence talk
in platitudes.
T RLM LM BER that she used to ask me about
■*■ the other players on the lot, from whom she
-hut off, not by herself but by their
attitude toward her. I decided that if .Miss
Lillian and I were to be friends my only course
was to act myself. She liked to hear the gossip
of the studio — not the vicious scandal, perhaps,
but certainly the chatty day's news. And she
always wanted to be like other people, which
she really was when anybody gave her the
chance.
She told mc once that she was going on a trip
to Xew York and in Chicago she would see a
lot of newspaper people. Quite seriously she
10k
asked, '"Do you think I should serve them
cocktails?" Although she, herself, did not
drink she was perfectly willing to serve liquor
if it were expected of her.
She had no desire to shut herself off from the
world. She simply got shut off because of her
angelic face and dignified manner. Certainly
she was not a '"jazz baby" nor did she fit into
the lusty Hollywood scene. But, by the same
token, she was not '"what men think women
are before they know they have bodies."
Some years after she left M-G-M, she came
back to Hollywood on a visit and looked me up.
She was stopping with her great friend, Mary
Pickford, and she came for me in Mary's Ford.
It was the first of the new ones — remember
when they came out? We drove to a little
Meet Miss Patricia Kirkland, aged
six years. Nancy Carroll is her
mother and Jack Kirkland — Nancy's
ex-husband — her daddy
restaurant for tea and Lillian parked the car in
front. When we came out a crowd had
gathered around it, for it was the first one in
town. So interested were the people in the
Ford that they did not notice the obscure little
person who climbed into the driver's seat. Be-
cause of her un-actress-like appearance Lillian
is seldom recognized.
CHE had trouble starting. The thing choked
'-'and wouldn't budge. The people laughed and
so did she. At last a man gave us a push and
we started with a violent chug. Lillian waved
and smiled and, in a cloud of dust, we drove
away.
The duty of the publicity department was to
get pictures and copy about actors and act •
into the papers and keep the scandal out.
Pictures were considered the more valuable
publicity and we did anything for 'Teg art," as
it was called. The newer girls were better for
this, since they had more time and would do
more things.
Once I doped out the idea of saying that a
silk stocking had been treated with some acid
and been so highly sensitized that a photograph
could be printed upon it. Of course, we didn't
really do it. It would have been too costly an
experiment. We simply cut out a boy's photo-
graph, pasted it on Kstelle Clark's shinbone
and pulled a silk stocking over it. It gave the
same effect in the photograph. Estelle smiled
into the camera and the "still" was used in
hundreds of newspapers.
Gwen Lee was one of the best girls for pub-
licity posing. Only once did she rebel. I'd
seen a news dispatch from Paris saying that
women were wearing rings in their nose> I
suggested that Gwen have a picture taken with
a ring in her nose to show what it would look
like.
She fixed me with a steely gaze, arms akimbo,
and said, "Now see here, Katherine, I've done
even-thing you've asked me to do. I've had
my sweetheart's picture on my shoe buckles,
my left shoulder and my handkerchief. I've
dangled pearls and purses and powder puffs
from my garters. I've painted my fingernails
bright green and worn gold parrots in the hoops
of my earrings. I've kept a powder compact in
the heel of my shoe and had a butterfly painted
on my back. I've done even-thing you wanted
me to do for that publicity camera. But I'll
quit before I'll wear a ring in my nose! '
TTHE greatest poseuse on the lot was that
■*■ authority on the grande passion e.xqui —
Elinor Glyn. She was. at the time, supervising
her own stories and wearing green turbans and
yellow scarfs. She vibrated to yellow, she said.
Always accompanied by a very young and very
attractive Englishman, her manager, she used
to appear on the sets and squint with delight at
the love scenes she saw enacted.
"Three Weeks" was one of her epics. She
chose Aileen Pringle and Conrad Xagel as the
leads. Xagel, of course, played Paul. You can
imagine that the personalities of the mystic
Glyn and the practical Conrad were at con-
stant war. Glyn said Conrad had •'It,"
dressed him up in tight uniforms and had him
grow a mustache. X'ot satisfied with these in-
dignities, she looked at him one day and said,
"Mr. Xagel, your ears stand out."
- > they do," said Conrad, "should they be
ingrown?"
"But Paul's ears mustn't stand out." Her
ingenious brain began to function. She called
for adhesive tape and. with her own pale hands,
pasted Conrad's ears tight to his head.
Quite annoyed, but still trying to play the
game, Conrad, in tight uniform and ears laid
back, stepped before the camera. He looked
swell. The ears were elegant. But the lights
Photoplay Magazine for January, 1932
were hot and the glue on the adhesive tape did
not adhere. In the middle of the most im-
passioned love scene the stuff melted and
Conrad's ears flopped forward suddenly!
After innumerable but distressing attempts,
Glyn gave up the idea of Paul with flat ears.
She believed strongly in the power of mind
i over matter and was expounding this theory
to me one day. "Whenever I think something
about an actress and she is before the camera
she becomes as I think her on the screen. For
example, look at these stills of Pauline Starke
in my picture. Her cheeks, as you know, are
prone to be hollow. On this day I was sitting
behind the camera visualizing her with a round
face, and here you see the proof of it. But,
here, you'll notice that her cheeks are hollow.
I was annoyed with her that day and I
wouldn't think right."
IT was, of course, simply a case of camera
angles. In one picture Pauline was turned so
that the hollows did not show. In the other
there was a shadow and they were apparent.
But Glyn continued, "Now I could put you in
front of a camera and think of you as a blonde
with blue eyes and when you see the film upon
the screen your hair would be as light as Claire
Windsor's and your eyes as blue as heaven."
I am a decided brunette with black hair and
eyes. I said, "That's swell. Mrs. Glyn, and it
would make a great publicity story. I'll
get a requisition for a camera and some lights
and we'll do it. I'll work before the camera.
You'll think I'm a blonde. Then we'll run the
film before all the newspaper people and have
a grand story when they see me on the screen
as a blonde."
But Madame Glyn was busy just then and
couldn't take time to transform me. I made
her life a burden. Every day I called her and
told her I had a cameraman on the test set and
would be glad to work out her experiment. But
every day she was busy and finally she wouldn't
come to the 'phone when I called.
One of the people whom we feared most was
Mae Murray. Mae was given the run of the
lot because of the gratitude of the greatest and
kindest figure in motion picture history — the
late Marcus Loew. Mae had, by making good
pictures cheaply, pulled him out of a financial
hole at the old Metro, years before. So when
Metro, Goldwyn and Mayer merged and he
became head of the entire organization, he sent
out word that Mae was to have everything she
wanted. Not being on the lot himself, the
sweet soul did not know what he was doing to
us. When Mae called the publicity department
we all went scurrying to her — usually to hear a
tale of woe couched — oh, yes, always — in the
most saccharine of words. She was Lady
Goodness and Light herself, with a forgiving
smile — that didn't forgive.
Because her eyes photographed so light she
was always surrounded by black flats for close-
ups and the workers on her sets were instructed
to cover their white shirts with black smocks.
It gave a funereal air to the set which was
quickly dispelled when Mac bounded on, leav-
ing a wake of French scent behind her as a ship
leaves ripples of water upon the sea.
Mae is not young, but I've never seen any-
one with so much joic de vie, which she turns on
and off like an electric light. Everything was
"just too sweet" until someone did something
she didn't like. She usually hummed a
sprightly tune and Just Loved Everybody. That
is, she loved everybody but a certain retoucher
who worked for the portrait photographer.
MAE, unlike any of the others, had the right
to okay all the proofs of her photographs.
One day she sat for the portrait artist and a
few days later looked at the proofs. She
paused over one picture that showed her face
cuddled into her right shoulder. There is a
dimple on Mae's right shoulder.
Mae stopped with a sniff. "That," she said,
pointing to the offending indentation, "is not
my dimple." The portrait artist assured her
that there wasn't anybody who was willing to
double for a dimple. And further added that
the proof had not been retouched.
"Call the retoucher," said Mae.
The poor lad was called and he knew — hav-
ing seen many leave the lot — what it meant to
incur Mae's displeasure. " You've done things
to my dimple," she accused. "Why, my
dimple is round and smooth and this thing here
on my shoulder looks like a scar. You — you've
retouched my dimple and spoiled it."
The proof was torn to bits and the retoucher
went back to his office muttering something
about its being a wise star who knows her own
dimple. But Mae Murray's figure remains,
even after the birth of her baby, and to this
day is one of the loveliest in Hollywood.
"When Miss Garbo calls tell her I'm
out!" that's what Jack Gilbert used to
say to his secretary. Why? Next
month I'll tell you. And I've plenty
more to tell about Jack and Greta as
well as Lon Chaney, Lew Cody, Aileen
Pringle, Joan Crawford and Norma
Shearer.
r'tll(lf*
Just as soon as Una Merkel finishes learning her lines Mama Merkel is
going right in the house and cook some nice fried chicken and corn pone.
And Una's mother knows how. She wasn't raised in Kentucky for
nothing. When these two Southerners get together bets are even as to
which one has the broadest accent. Yes sun, honey chile !
/I STARS in the sky
« STARS or tlie
ICHIEF. . .
\mf- It's true. Hollywood Stars
M Prefer the Chief —
Because it Speeds
Across the land
■ Like a comet in the sky.
As smooth and swift
And steady.
And the Chief's service
Is something to enchant
* * * The Screen Stars
and YOU
Who love travel comfort—
And glorious scenery,-
And courteous atten-
dantS;
And elegant cuisine.
Oh! The Chief is still
Chief-
Still the fastest, finest train
That flashes from East to
West and West to East.
The Chief will carry
Special Phoenix
Pullman this winter
MAIL COUPON
W.J.BIack.l'ass Traf.Mcr .Santa Fe
Sys Lines. 1039 Ky. Exch.. Chicago, in.
Please mail folders checked below:
□ California Picture Book D Death Valley
D The Indian-detours □ Arizona Winter
D Grand Canyon D All-expense Tours
Q California-Arizona Hotel Rates
RS
Winners Of $5,000 Contest
| CONTINUED FROM PAGE 67
paper from old copies of Photoplay, and
where in actual life a brilliant spot of color
would appear we find instead the properly
mhled head of a picture star.
Mr. Frank L. Greseke, of Lake Worth, Fla.,
who won for this entry the fourth prize, S300,
writes:
"I have been married three years and since
that time we have been working together and
saving for a home we can call our own. If I am
fortunate enough to win a capital prize we
shall use the money for that end."
"A Chest of Miniatures" was awarded the
fifth and last of the larger prizes, S200. This
entry was submitted by Mrs. Lina R. Garst, of
Auburn, K. I. On a series of trays — four in all
— are exhibited the beautifully framed por-
traits of the stars — all contained within one
chest. The portraits themselves are photo-
graphed miniatures. In addition, Mrs. Garst
also submitted the strips of faces, as cut from
Photoplay, neatly mounted. She also is a
home lover, for she states:
"My husband and I are patiently striving
and looking forward to the day we will have
our own little house which we have been plan-
ning ever since our marriage.
" I have submitted entries in Cut Picture
Puzzle Contests on several occasions. I sup-
pose I shall continue trying it every year."
We wish again to emphasize the fact that in
awarding these five major, as well as the sixty-
five other prizes of S25 and S50, respectively,
the prime factors of accuracy, neatness, and
ingenuity were given first consideration by the
judges. There were, of course, many hundreds
of correct solutions — many hundreds more
that were ingenious, many that were neat, but
the number that could claim serious considera-
tion for all three requirements was limited.
The checks totalling the sum of $5,000 will
be in the hands of the seventy lucky winners a
few days before Christmas. Photoplay takes
this opportunity to offer them its heartiest
congratulations.
Photoplay also wishes to remind those who
failed to take a prize in this eighth annual Cut
Picture Puzzle Contest: Though you didn't win
this time, there is another chance coming.
Some of you who failed now won't fail next
time. Your luck must take an upward turn.
Additional Prize Winners
FIFTY DOLLAR PRIZES
Ship — "Success"
Moi.lie H. Lamping
Lucerne Hotel, Kansas City, Mo.
A Country Road
Helen Alhertson
Vorktown Heights, N. Y.
Television
Mrs. Ellen Stroud
172 Melrose Ave., Irvington, N. J.
Around the World with the Stars
Magdalin Ward
6320 Kenmore Ave., Apt. No. 306, Chicago, 111
Pillow
Miss Margaret Morales
303 N. Albany, Tampa, Fla.
Joe Brown Caricature
Margaret T. Howell
112 S. Milton Ave., Clarendon, Va.
Flower of the Screen
Mabel Gardner
3509 Colfax Ave., South, Minneapolis, Minn
Modernistic Display
Marion P. Bottsford
1541 34th St., Sacramento, Calif.
A Fan Scree7i
Mrs. Henry G. Muecke
120 Hill Crest Ave., Macon, Ga.
Photoplay's Stars of the World
Marie Lewis
416 San Rafael St., Portland, Ore
Telescope
Gladys Krafft
448 W. Highland, Sierra Madre, Calif.
Miniature Theater
Mr. and Mrs. A. Stanley Dembny
2334 West Burnham St., Milwaukee, Wis.
Photoplay's Treasure of Screen Stars
Mrs. Jack J. Hall
5218 Labranch, Houston, Texas
// Pays to Advertise
Mr. E. R. Mc Cory
2319 3rd, Spokane, Wash.
Photoplay Puzzle Display
Amy Edith Iyerson
3333 Octavia St., San Francisco, Calif.
Dream Mansion
Chas. Woodhams
2318 Wilson Ave., Chicago, 111.
Bridge Table Covers
Mrs. G. P. Mursinna
732 Fn right Ave., Price Hill, Cincinnati, Ohio
Treasure Chest of Filmland
Herman Pseiss
908 W. Shiawassee St., Lansing, Mich.
Lamp
Mrs. Roland D. Doane
1411 Hamilton St., Allentown, Penna.
Quilt
Mrs. Harold A. Speer
118 E. Noble Ave., Guthrie, Okla.
Clock
LeRoy Westlund
506 Iglehart Ave., St. Paul, Minn.
Photoplay Magazine Medal
Paitline Tekesky
Rice Branch Library, 2820 E. 116th St.
Cleveland, Ohio
A Sheaf of Portraits
Mary Snow Herring
20 Brentwood Place, Fort Thomas, Ky.
Solutions that won for sixty-five contestants the $50 and $25 prizes
are grouped here in one corner of the enormous room where the
judges reviewed the thousands of Contest entries
100
Photoplay Magazine for January, 1932
I07
Mother Goose from Hollywood
Marie M. Meyer
2836 Lombardy Court, Augusta, Ga.
A Make-up Box
Mrs. H. Krauter
1314 Glenlake Ave, Chicago, 111.
TWENTY-FIVE DOLLAR PRIZES
News and Views
Mrs. J. \Y. Murphy
Wabash, Ind.
Clippings
Martin Jacobsen
912 Peck Ave., Racine, Wis.
Sketch Book
Hazel Sixgleterry
5424 Foothill Blvd., Oakland, Calif.
Card Table
Kathleen Sullivan
143 West 10th St., New York, N. Y.
Theater
Norman E. Goldberg
1801 Grand Ave., Racine, Wis.
Artist PaUette
Laurabelle Crafts
1932 Upton Ave., Toledo, Ohio
Book of Impressions
Dorothy Deverell
305 Highfield Road, Baltimore, Md.
Book
Olive Stannard
P. O. Box No. 827, Mill Valley, Calif.
Photoplay Covers
Mrs. O. A. Fredin
420 3rd St., N. W., Watertown, S. D.
Star Gazing
John Shambarger and Connell Turpen
Red Key, Ind.
Silhouettes
Mr. and Mrs. W. F. Druzik
1029 Warrington Ave., Pittsburgh, Penna.
Book
Gladys Bush
5406 Park Ave., Kansas City, Mo.
Album
Edgar Murney
1319 S. Main St., Racine, Wis.
Gallery of Portraits
Grant MacDonald
5 W. 63rd Street, New York, N. Y.
Book
Miss Georgia Virginia Souder
5 South Augusta St., Staunton, Va.
Family Album
Mrs. E. F. Maurer
3381 North 44th St., Milwaukee, Wis.
Our Earthy Stars
Mr. Wm, G. Trimble
135 Moody Ave., New Castle, Penna.
Book
Gustavo Gil
San Lazaro 286, Habana, Cuba
Album
Henry Stowelx
3145 Willowcrest Ave., North Hollywood, Calif.
Kthe November issue of Photoplay, Cal
^ork wrote:
"When Alice White was playing in Detroit,
she went to a sanitarium for the tubercular to
visit a girl, a fan with whom she has been cor-
responding for four years."
Not long after the magazine was out, this
letter arrived for Cal.
"Now to give you my side of the
story, as I am the one Alice White
came to see while she was making a
personal appearance in Detroit. No
one can say anything against Alice to
me, because I know the real Alice. I
want other people to know her as she
really is.
"I have been curing for tubercu-
losis since the first part of 1926.
Later, when time hung heavy, I
started to collect autographs of fa-
mous people. Alice was among the
first to whom I wrote, as she is the
Leather Book
Marina LoTINA
Goya 75, Madrid, Spain
Album
Miss M VRCELLE VANEER
1007 Ontario St., East, Montreal, Canada
Book
Morris Horwit2
5746 Cedar Ave., Philadelphia, Penna.
Scrap Book
Agnes Hippen
3058 Sheridan, Detroit, Mich.
Pillow
Mrs. Reeder Nichols
Troy Lane Apartments, 6314 S. Troy St.
Chicago, 111.
A Jeweled Crown
Mildred A. Bradley
Box No. 62, Sheldonville, Mass.
Star Stand
Fred E. Beaumont
401 Farm St., New Bedford, Mass.
Photoplay Tower of Fame
William G. Webb
2342 Roselle St., Jacksonville, Fla.
Card Table
Edna A. Heffron
66 Vanderhorst St., Charleston, S. C.
Photoplay Picture
Mr. Daniel Guerin
66 Harlem St., Worcester, Mass.
Silhouette Doll
Jack A. Huepper
2334 N. 36th St., Milwaukee, Wis.
Wheel of Fortune
Leland D. Cannon
357 9th St., Brooklyn, N. Y.
Photoplay's Star Timer
Norman Gordon Low
Box No. 319, Portland, Ore.
Screen
Florence A. Chitwood
203 12th St., Portland, Ore.
Bioglance of the Stars
Rose Goshen
1011 S. W. 4th St., Miami, Fla.
Small Screen
Dorothy Holst
1039 Nebraska Ave., Toledo, Ohio
Flower Box
Anna Smith
1048 College Ave, Bronx, N. Y.
Reel of Stars
Mr. and Mrs. L. M. Grow
650 N. Grant St, Wooster, Iowa
Star Blocks
Mary A. O'Toole
1436 Beverly Place, E. Brookline
Pittsburgh, Penna.
Fan
Mrs. B. O'Neil
2544 East Blvd., Shaker Heights, Ohio
Character Dolls
Grace Sheller
1925 S. 17th St, Omaha, Neb.
favorite of both my husband and me.
She answered immediately with a
wonderful letter expressing her sor-
row. Even with all her own troubles,
she took time to sympathize with me.
"She tried to lighten my burdens
by writing me long, cheerful letters.
Then, what I least expected hap-
pened! A miracle! Alice White
came out to see me. She had to go
sixty miles out of her way to make
this trip. Everyone, nurses, patients,
and doctors in this sanitarium always
will have sweet memories of Alice,
tucked away in their hearts. There
is no one just like Alice White in their
eyes.
"There are no two ways about it,
Alice White has a heart of gold, and
is just as sweet as the candy she
brought me."
Marie Joanne Barnum,
Northville, Mich.
LONG ISLAND MATRON
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Mrs. Harold Price of Woodside, L. I. writes:
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An 85c bottle lasts 4 weeks and is sold by
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ioS
Photoplay Magazine for January, 1932
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Opening the Xlollywood
oocial ueason I
If you didn't recognize them on pages 42 and 43,
here they are
[ You couldn't have missed Robert Mont-
gomery or Bill Powell. Hut there's Mrs.
Montgomery right between them and beyond
Hill is his bride, Carole Lombard. Is every-
body happy? Well, it doesn't look like a
funeral. Wonder if that's ginger ale Bill has
in the glass that he's raising in a toast to
Evelyn Brent, who is sitting across the table,
just out of the camera line.
2 Now don't tell us that you missed Diane
and Cliico of "7th Heaven." They look
as though they are still in it. None other than
Janet Gaynor and Charlie Farrell. When this
picture was taken, they were really laughing
at Virginia Valli and Lydell Peck, who were
dancing just a few feet away. And every-
body's happy.
3 Don't tell us you missed Billie Dove and
that you didn't notice that lovely new ar-
rangement of pearls around the neck and over
the shoulder.
A Laura La Plante in the foreground. Buddy
Rogers, just behind with his fair com-
panion, Dorothy Hall.
5 What, you missed Grace Moore and her
handsome Spanish husband? Everybody in
Hollywood likes him.
^ Here are two couples who are still on their
honeymoon — Richard Dix and Winifred,
whom you can read about on another page of
Photoplay this month, and Mary Astor and
her husband, Dr. Franklyn Thorpe, whose
marriage Photoplay told the world about
exclusively a few months ago. There is no
gloom at this table. And, by the way, Dr.
Thorpe, who is one of Los Angeles' best
surgeons, is a swell guy.
7 Who is that Barbara Stanwyck is snuggling
up to so contentedly? None other than
Frank Fay. If you called that boy Barbara
Stanwyck's husband, he'd shoot from both
hips. So we will just say it's Frank Fay.
Quite a boy in his own right.
g Now if you missed these two young fellows,
you've all got to stay after school and
write the names of Lionel Barrymore and
Adolphe Menjou one hundred times. One of
Photoplay's staff writers was seated right
behind Lionel, out of the camera lines, when
this picture was snapped, and here's what
she heard:
Adolphe — "Lionel, they tell me that I was
pretty close to you on that prize that the
Academy gave you for the best man's per-
formance of the year in 'A Free Soul.' "
Lionel — "On the level, Adolphe, I think I
was pretty good, but I think you were just
as good in ' Front Page,' but, nevertheless,
I'm going to keep the prize."
Adolphe — "Lionel, you played that drunk
scene so well that I wondered if you did have
a little nip."
Lionel — "I refuse to answer on advice of
counsel."
9 Herr Ernst (never flops) Lubitsch and hu
charming little stage actress fiancee, Ona
Munson. Why don't you smile, Ernst? Havi i
you camera fright?
10 Connie Bennett is camera shy these days,
except in the studio, but she couldn't
fool the old news cameraman. And did
Connie turn round and bawl him out. Oh
boy!
[ Well, here's where a lot of you children
get low marks. The two lads on the right
conspired to make Red Book famous in the
old days and they plotted many a serial and
novel together. None other than Rupert
(with the spectacles) Hughes and Ray Long,
who has just resigned as Editor of Cos-
mopolitan, to publish books by famous
authors. Speaking to him is his gracious and
beautiful wife, Lucy \ 'irginia. Caught una-
wares, looking out of the picture, is Mrs.
Rupert Hughes, whom all the producers are
trying to get into pictures and who is :ell-j
known as a writer herself.
12 r"°'a Negri initiated a new floral custom
by wearing a wreath of orchids as a brace-
let on her left arm instead of a corsage on
her left shoulder. And did the other stars
give the new idea the once over! She's danc-
ing with Charles R. Rogers, production chief
of the Pathe studios where Pola is making her
pictures. If you don't think Pola gets along
with her producers, just look at that grin on
Mr. Rogers' face as he two-steps his star
around.
— Jack Gilbert's pet name for Garbo
— Why Lew Cody was afraid of interviewers
— How Lon Cbaney became a mystery man
— And plenty more inside stuff
You can read it all in the February
PHOTOPLAY Out January 15
Photoplay Magazine for January, 1932
Addresses of the Stars
Hollywood, Calif*
Paramount Publix Studios
Adrienne Ames
Richard Arlen
George Bancroft
Eleanor Boardman
William Boyd
John Breedon
Chas. D. Brown
Juliette Compton
Jackie Coogan
Robert Coogan
Gary Cooper
Frances Dee
Marlene Dietrich
Claire Dodd
Tom Douglas
Junior Durkin
Stuart Erwin
Marjorie Gateson
Wynne Gibson
Mitzi Green
Phillips Holmes
Lenita Lane
Carole Lombard
Paul Lukas
Frances Moffett
Rosita Moreno
Jack Oakie
Vivienne Osborne
Eugene Pallette
Ramon Pereda
Irving Pichel
Charles Rogers
Jackie Searl
Peggy Shannon
Sylvia Sidney
Lilyan Tashman
Kent Taylor
Regis Toomey
Dorothy Tree
Allen Vincent
Anna May Wong
Judith Wood.
Fox Studios, 1401 N. Western Ave.
Frank Albertson
Hardie Albright
John Arledge
Warner Baxter
Joan Bennett
i El Brendel
Joan Castle
Paul Cavanagh
Virginia Cherrill
Marguerite Churchill
William Collier, Sr.
Roxanne Curtis
Jesse DeVorska
; Donald Dillaway
Allan Dinehart
I James Dunn
| Sally Eilers
Charles Farrell
Janet Gaynor
Minna Gombell
William Holden
I Olin Howland
Warren Hymer
I J. M. Kerrigan
' James Kirkwood
lilissa Landi
Edmund Lowe
i Jeane^te MacDonald
Helen Mack
, Kenneth MacKenna
Mae Marsh
Victor McLaglen
Thomas Meighan
Una Merkel
Don Jose Mojica
Conchita Montenegro
Goodee Montgomery
Ralph Morgan
Greta Nissen
George O'Brien
Sally O'Neil
Lawrence O'Sullivan
Maureen O'Sullivan
Cecelia Parker
William Pawley
Yvonne Pelletier
Gaylord Pendleton
Howard Phillips
Terrance Ray
Manya Roberti
Will Rogers
Peggy Ross
Rosalie Roy
George E. Stone
James Todd
Spencer Tracy
Linda Watkins
Marjorie White
Charles Williams
Elda Vokel
Radio Pictures Studios, 780 Gower St.
I Robert Ames
: Mary Astor
' Roscoe Ates
| Evelyn Brent
Joseph Cawthorn
Lita Chevret
Ricardo Cortez
Lily Damita
John Darrow
Dolores Del Rio
Richard Dix
Irene Dunne
Jill Esmond
Noel Francis
Roberta Gale
Morgan Galloway
John Halliday
Hugh Herbert
. Leyland Hodgson
Rochelle Hudson
Kitty Kelly
Geoffrey Kerr
Rita LaRoy
Ivan Lebedeff
Dorothy Lee
Eric Linden
Phillips "Seth Parker*
Lord
Joel McCrea
Ken Murray
Edna May Oliver
Lawrence Olivier
William Post
Lowell Sherman
Ned Sparks
Ruth Weston
Bert Wheeler
Hope Williams
Robert Woolsey
United Artists Studios, 1041 N. Formosa
Ave.
Eddie Cantor
Charles Chaplin
Ina Claire
Ronald Colman
Douglas Fairbanks
Jean Harlow
Al Jolson
Evelyn Laye
Chester Morris
Mary Pickford
Gloria Swanson
Norma Talmadge
Columbia Studios, 1438 Gower St.
Eddie Buzzell
Richard Cromwell
i Susan Fleming
Ralph Graves
Jack Holt
Buck Jones
Loretta Savers
Barbara Stanwyck
John Wayne
Universal City, Calif.
Universal Studios
Lew Ayres
John Boles
Lucile Browne
Bette Davis
Sidney Fox
Rose Hobart
Bela Lugosi
Slim Summerville
Sally Sweet
Genevieve Tobin
Lois Wilson
Culver City, Calif.
Metro-Goldwyn-Mayer Studios
Dorothy Appleby
Nils Asther
William Bakewell
Lionel Barrymore
Wallace Beery
Charles Bickford
Herbert Braggiotti
John Mack Brown
Jackie Cooper
Joan Crawford
Kathryn Crawford
Janet Currie
Marion Davies
Reginald Denny
Marie Dressier
Jimmy Durante
Cliff Edwards
Phyllis Elgar
Madge Evans
Clark Gable
Greta Garbo
John Gilbert
Charlotte Greenwood
William Haines
Neil Hamilton
Helen Hayes
Jean Hersholt
Hedda Hopper
Leslie Howard
Leila Hyams
RKO-Pathe Studios
Robert Armstrong
Constance Bennett
Bill Boyd
James Gleason
Ann Harding
June MacCloy
Hal Roach Studios
Dorothy Jordan
Buster Keaton
Marjorie King
Myrna Loy
Alfred Lunt and
Lynn Fontanne
Joan Marsh
Adolphe Menjou
John Miljan
Ray Milland
Robert Montgomery
Polly Moran
Karen Morley
Conrad Nagel
Ramon Novarro
Ivor Novello
Monroe Owsley
Anita Page
Irene Pun ell
Marjorie Rambeau
Ruth Selwyn
Norma Shearer
Gus Shy
C. Aubrey Smith
Lewis Stone
Lawrence Tibbett
Ernest Torrence
Lester Vail
Robert Young
Pola Negri'
Eddie Quillan
Marion Shilling
Helen Twelvetrees
Robert Williams
Charley Chase
Mickey Daniels
Dorothy Granger
Oliver Hardy
Mary Kornman
Harry Langdon
Stan Laurel
Gertie Messinger
Our Gang
David Sharpe
Grady Sutton
Thelma Todd
Burbank, Calif.
Warners-First National Studios
George Arliss
John Barrymore
Richard Barthelmess
Joan Blondell
Lilian Bond
Joe E. Brown
Anthony Bushell
Charles Butterworth
James Cagney
Ruth Chatterton
Donald Cook
Bebe Daniels
Douglas Fairbanks,
Jr.
Kay Francis
Ruth Hall
Kalf Harolde
Walter Huston
Leon Janney
Evalyn Knapp
Winnie Lightner
Ben Lyon
Dorothy Mackaill
Mae Madison
David Manners
Marian Marsh
Marilyn Miller
Dorothy Peterson
William Powell
James Rennie
Edward G. Robinson
Loretta Young
Polly Walters
Warren William
Long Island City, New York
Paramount New York Studio
Tallulah Bankhead
George Barbier
Clive Brook
Nancy Carroll
Maurice Chevalier
Claudette Colbert
Tamara Geva
Miriam Hopkins
Fredric March
Marx Brothers
Frank Morgan
Gene Raymond
Charlie Ruggles
Charles Starrett
Hollywood, Calif.
Robert Agnew, 6357 La Mirada Ave.
Virginia Brown Faire, 1212 Gower St.
Lane Chandler, 507 Equitable Bldg.
Llovd Hughes, 616 Taft Bldg.
Harold Lloyd, 6640 Santa Monica Blvd.
Philippe De Lacy, 904 Guaranty Bldg.
Los Angeles, Calif.
Pat O'Malley, 1832 Taft Ave.
Herbert Rawlinson, 1735 Highland St.
Ruth Roland, 3828 Wilshire Blvd.
Estelle Taylor, 5254 Los Feliz Blvd.
Gilda Gray, 22 E. 60th St., New York
William S. Hart, Horseshoe Ranch, Newhall, Calif.
Patsy Ruth Miller, 808 Crescent Drive, Beverly
Hills, Calif.
George K. Arthur and Karl Dane, Beverly Hills, Calif.
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Photoplay Magazine for January, 1932
A Christmas
GIFT
Twelve Times
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Photoplay has the brightest person-
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(jroing Hollywood
in F,
ASHION
by Seymoiir
HOLLYWOOD and Paris are getting on
the chummiest terms of late. I don't
know whether it is the influence of
Chanel or not. There was a day, you know, not
so far back when a powerful amount of sniffing
was done in the two fashion camps. The screen
grande couture, would have no taint of Paris
sully its creations — and Paris was oft quoted as
cringing at the mere mention of Hollywood.
Not so now. The screen stars spend their
precious vacations running over to Paris to
bring back a load of new clothes. And it was
openly admitted at the Fall showings that
Hollywood deserves more than a little credit
as inspiration for many French models.
Chanel has supervised the selection of cos-
tumes and mannequins for a special fashion
showing over here of the things she has de-
signed for "The Greeks Had a Word for It"
and "Tonight or Never." Perhaps you may
have the thrill of seeing these costumes mod-
eled because Samuel Goldwyn has planned to
send the exhibition to other cities after its
initial presentation in New York.
Gloria Swanson's beautiful "Tosca" gown,
which is elaborately brocaded with tiny jewels,
can thus be appreciated at close range. And
Ina Claire's much discussed wedding gown,
which she wears in "The Greeks Had a Word
for It," will also be on display. It should prove
a rare treat for everyone and may start an en-
tirely new trend for fashion showings of the
many unusual gowns that heretofore have only
been seen on the screen.
I WONDER if Connie Bennett had any mo-
tive other than a great love for a large Paris-
designed wardrobe when she brought so many
trunk loads back from her trip abroad? You
don't suppose she was trying to beat Gloria's
Chanels to the screen, do you?
If you have been going hatless since the
Eugenie debacle just because you won't be
caught napping with another fashion flyer, you
can safely try the Florentine trend now. The
Florentine tarn is the newest up-over-the-left-
ear, one-eyed Connelly hat. And it seems to
be the current wow with both the gay young
things and the years of discretion group. It is
a tarn in every sense of the word. It sweeps
up to reveal the left profile and sweeps low to
the right. Usually a feather is perched on the
full side. It certainly points toward the classic
simplicity which promises to be the big note in
Spring clothes.
Fashion gags appear in Hollywood that never
go any farther. To the outsider they may seem
a trifle startling or bizarre, but to anyone who
has lingered about the town long, it is chalked
off as just another eccentricity. There's the
fad for wearing dark glasses, for instance.
The glasses were first worn, it was supposed,
to fend off the terrific glare of California sun-
shine— but the sun doesn't shine at night, too!
So it would seem that the beauteous ones are
just trying to make it all more mysterious by
wearing them both night and day. Perhaps
it's the glare of publicity at night.
And if you are Winter resorting on the
West Coast, you won't have to save much
i
room in the trunk for bathing suits. My no!
Out there bathing apparel is getting sketchier
and sketchier. Just trunks for the masculine
set and deep decolletage for the feminine con-|
tingent. Most of the actresses are wearing one-
piece arrangements that give the back the air.
nTHE gorgeous gowns Greta Garbo wears
■*■ in "Mata Hari'' have a romantic history.
Adrian, the designer, claims to have gathered the
materials from all over the world. Beads from
Czecho-Slovakia, more beads from Japan,
fragile silver threads from Germany and rich
fabrics from Paris. Her boots were hand-made
in Russia. Although national costumes from
various countries were used as inspiration foi
these new Garbo clothes, a decided Javanese
influence is seen in most of them. This is due
to the fact that Mala Hari was supposed to
have been of Javanese extraction. I don't
know how Javanese Greta will look, but cer-
tainly her costumes will be knockouts.
Ona Munson believes in carrying coals to
Newcastle, especially if they are smart ones
like the wardrobe she carted from Hollywood
to New York not so long ago. Not having any
shopping to do gave her plenty of time to be
seen about town in her good-looking Holly-
wood outfits. She leans toward suits. One
unusually striking one was made in a rough
surfaced woolen, the color of burgundy which
borders on ox-blood. The sleeves were trimmed
with silver fox and a silver fox scarf was worn
as collar.
CONSTANCE BENNETT is wearing a non-
removable slave bracelet.
Tatting up afghans is one of the wild pas-
times of the feminine screen set now in vogue,
Joan Crawford must have stimulated home
industry with her rugs.
Helen Hayes revives the 1908 fashion era in
part of her wardrobe for "The Sin of Madelon
Claudet."
Having one hairdress to her credit that was
seen around the world, it now looks as if Greta
Garbo started something with her bangs in
"Susan Lenox." Any number of prominent
hair authorities are advocating bangs and
already several smart women are following
Garbo's lead. Watch for an increase in this
new style.
The "best dressed" feud among the smart
stars has a new recruit! Marlene Dietrich has
been creating a perfect furor of late with the
stunning clothes she has been wearing. At a
recent big Hollywood social gathering she
eclipsed everyone present by wearing a very
distinctive black velvet ensemble. She was
the only one present in long sleeves. And her
gown was very long and had a high neckline
as another unusual detail. A matchin;.-
cape was banded in silver fox.
Mary Pickford "did" Seventh Avenue be-
fore she left New York for her return trip
West. If a trip through the wholesale section
was an economy gesture no one will ever guess
because the clothes look like a million. She
chose several coats for Spring trimmed with
silver fox.
Photoplay Magazine for January, 1932
Screen Memories from Photoplay
15 Years Ago
1 1 1
Anna Q.
Nilsson
THE most beautiful
photograph of the
month was one of Anna
Q. Nilsson in a stunning
riding habit. We told
proudly of Anna's remark-
able horsemanship, little
knowing that some years
later a fall from a horse
was to cause her months
of untold suffering. But
Anna has won her battle, is back in Hollywood
and will be before the cameras soon again.
Pauline Frederick was caught by our photog-
rapher in a hunting costume. We had to look
twice at that picture, the resemblance to Joan
Crawford is so startling. Who was to know
that one day the great dramatic actress would
be playing a mother role for Joan (in "This
Modern Age") who, at that time, was a little
Kansas City kid spending all her nickels to see
the divine Frederick at the local movie?
Here's a story that tugs at your heart-strings.
It's a jolly little yarn that tells the stars'
Christmas plans. Mabel Normand and Fanny
Ward gave a party together. Roscoe Arbuckle
was a volunteer Santa Claus for the children
at the Orphans' Home (there can't be so much
harm in a guy like that), and William S. Hart,
still in his heyday, had all the Ince cowboys at
his ranch. Of all those mentioned, only one per-
son is doing this Christmas exactly what she did
fifteen Christmases ago. That's Louise Fazen-
da, doling out gifts to the studio workers.
Naomi Childers was the girl on the cover,
and the gallery section included Rhea Mitchell,
Conway Tearle, Jeanne Eagels, Hobart lien-
ley, Fay Tincher, James Morrison, Violet
Mersereau and Louise Huff.
We reviewed the two versions of "Romeo
and Juliet," one with Theda Bara and Harry
Hilliard and the other with Beverly Bayne and
Francis X. Bushman; "Faith" with Mary
Miles Minter; "Miss George Washington"
with Marguerite Clarke; and "The Storm"
with Blanche Sweet.
Cal York items: Mae Murray's press-agent
says she has adopted an ostrich and is teaching
it to dance. . . . Billie Burke's retirement
from the screen is because of a baby girl.
10 Years Ago
Lila
Lee
SOMETHING new was
being written into the
stars' contracts. It was
called the "morality
clause" and Maryon Aye
(you've probably forgot-
ten her) was the first to
sign. The clause stated
that the party of the sec-
ond part (the artist) must
conduct himself in public
in a manner not to elicit criticism. The mo-
rality clause is still a prominent part of all
players' contracts — but Will Hays keeps busy!
"A Game Girl" is the title of a story about
a kid named Lila Lee who was starred too
soon, with too much publicity ballyhoo, and
had to begin over again playing small parts
and bits at the studio where she'd been a head-
liner. Our interviewer said that took courage.
It did, but it took more courage when Lila,
many years later, gave up the great career she
had made for herself and had to fight for her
life in an Arizona sanitarium. It was a good
fight and Lila's back.
"Colleen Moore and John McCormick are
seen constantly in each other's company and
the sound of wedding bells may be heard
tinkling in the distance." What fateful years
were in store for those two, between the time
of our simple announcement and the present
day! Marriage, happiness and then divorce.
John's second marriage and divorce. Their
joint rise to picture heights. And now, what?
Corinne Griffith was the cover girl. Gloria
Swanson, Constance Talmadge, Olga Petrova,
Pauline Frederick, Rudolph Valentino, Mary
Miles Minter, Betty Compson in the gallery.
The six best pictures of the month were
"Theodora" (imported from Italy); "The Sin
Flood" with James Kirkwood, Helene Chad-
wick and Richard Dix; "Dangerous Curves
Ahead"; "Woman's Place," with Connie Tal-
madge; "Jane Eyre" with Mabel Ballin; and
"The Sheik" with Rudolph Valentino. Five
of these have been forgotten. "The Sheik" is
still discussed.
Cal York items: Constance Talmadge and
husband John Pialoglou are separated. . . .
Barbara La Marr is happily married. . . .
Jack
Gilbert
^^" TT had begun — the fa-
^^ Vous Gilbert-Garbo
* ij&e * J affair and we reported,
"Jack Gilbert is in love.
i . And you've never seen a
**- man in love until you've
seen Jack in the throes of
the delicate passion. It is
a tonic, a magic potion.
And all because of the
lissom Lorelei from Scan-
dinavia, Greta Garbo." For months to come
we were to record the minute by minute play
of that ill-fated romance.
And since then, how many of Jack's
"hearts" have we mentioned! Lupe Velez is
the latest. Five years ago we wrote "Jack
Gilbert is in love." The printers can set that
line with their eyes shut. Jack is always in
love — but not with the same girl.
An eminent astrologer made some predic-
tions. Here's what he said about Clara Bow.
"Don't blame Clara for her flapper ways —
blame Leo, the sign under which she was born.
She is highly emotional but she is destined to
5 Years Ago
lead a sunny, happy life and will shake off her
troubles." Oh, professor, how wrong you were.
Poor Clara! A sunny, happy life indeed!
"Can a Genius Be a Husband?" we asked,
for rumors of the separation of Charlie Chaplin
and Lita Grey were already rife. And we said
Janet Gaynor was getting all the breaks in
Hollywood. She had just done " 7th Heaven."
Olive Borden — now retired from films and
married — was the girl on the cover. Gallery
pictures included Clara Bow, Jocelyn Lee,
Norma Shearer Jack Gilbert, Richard Dix and
Flobelle Fairbanks.
The best pictures were "Faust," a German
film; "Hotel Imperial" with Pola Negri;
Norma Shearer's " Upstage " ; a Wallace Beery-
Raymond Hatton comedy "We're in the Navy
Now;" "Everybody's Acting" and "The Re-
turn of Peter Grimm."
Cal York items: It is rumored that Mary
Pickford and Douglas Fairbanks will make a
picture together. . . . The engagement be-
tween Bebe Daniels and Charlie Paddock is
off. . . . May Allison and James R. Quirk
were married in Santa Barbara.
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Photoplay Magazine for January. 1932
We Will
Help You
~P ARN extra cash as
-*— ' hundreds of others
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Cits State
Advice on Girls' Problems
| CONTINUED FROM PAGE 71 ]
Ol.IVI M.:
It is a very usual occurrence for blonde hair
to darken as you grow older, it is a perfectly
natural condition. There are various excellent
products on the market which will lighten
your hair without actually bleaching it. Any
of those advertised in PHOTOPLAY are most
reliable. You did not state your exact age so I
can not tell you your weight. If you will write
again, enclosing a stamped, self-addressed en-
velope, I shall be glad to give you the informa-
tion.
Betty:
You should weigh between 130 and 136
pounds. However, if you are just a little
overweight, I would not advise reducing be-
cause of your height.
A brown-haired, brown-eyed girl with a
medium skin tone will find the following
colors most flattering: Most shades of red,
blue-greens and the brighter greens that are so
smart this year, rose gray, light or very deep
blues, golden, buff or nut browns, black,
cream and ivory white. Yellow and rose tones
can be worn by this type for summer or eve-
ning clothes. You will find the depilatory you
mention advertised in Photoplay. It is very
reliable and satisfactory.
Evelyn E.:
I think you will find that the amount of sun
tan still remaining on your skin will greatly
govern the shade of make-up you use. Use a
creamier tone of powder. And I think that
the new coral shade of rouge and lipstick will
be especially good for your brown-haired,
blue-eyed type. With this make-up you really
ought to achieve quite a "fragile," charming
effect!
I would suggest that you use warm water
and a bland soap applied with a complexion
brush for the pimples on your arms. Don't be
afraid to brush rather briskly and follow this
with a good skin cream rubbed in well.
Photoplay Fax:
You forgot to enclose an addressed envelope
with your letter so I can not send you the
leaflet you requested. Write again and I shall
be glad to do so.
Two tablespoons of peroxide and a few drops
of ammonia mixed together and applied to the
upper lip will bleach the hair. This mixture
should be patted on several times a day. The
peroxide will bleach the hairs and the am-
monia gradually destroy the roots. The de-
pilatory you mention is quite safe and acts
more quickly than this bleach.
You are nearly ten pounds underweight.
However, you have no need for worry because
you will increase in weight as you grow older.
Try to fatten up a little anyway.
The colors I suggested for Betty, above,
will be becoming to you also.
Helen B.:
Your comments on "brown types" were
very interesting but I can't agree with you
that girls of your coloring have been so woe-
fully neglected by beauty authorities.
Only recently I wrote an article on make-up
which was aimed directly at your type of per-
son. If you recall it, you will remember that
I gave several make-up formulas based on the
costume shades that the average person wears.
Chestnut hair and dark eyes with a fair skin,
such as you describe for yourself, require em-
phasis through costume colors as well as
through make-up. A natural make-up offset
by the right colors can dramatize you as much
as you desire. The finishing touch to indi-
viduality lies with you. We can only give you
the ingredients!
Marilyx:
There are times when silence is indeed
golden. You are quite right not to enter into
the catty conversations of your friends.
I have never known it to fail that unkind things
said before a group of girls usually get back to
the person involved and make you look like a
very insincere friend.
It is easier not to be a party to such conver-
sations, and I think you will find that you are
the one who really wins out in the end.
Answers to Beauty Questionnaire
on Page 71
1. A larger-eyed effect may be
achieved by using a little eye shadow
toward the nose and spreading it out a
bit more heavily, nearly to the temple.
2. Lacquered wigs are the newest fad
in Paris. Antoine, famous hair au-
thority, is now urging women of this
country to wear those elaborately
coiffed and lacquered wigs for formal
wear. They are being made in various
colors from lavender to gold. Intricate
curls and ringlets adorn most of them.
3. No lunch is Mary Pickford's recipe
for keeping a youthful figure. If Miss
Pickford lunches with friends, then she
omits dinner at night. Quite a simple
formula, don't you think?
4. An eminent beauty authority, in
describing her new nail polishes, sug-
gests colors that suit the skin tones of
the hand. For instance, she suggests a
light rose polish which is suited to
blonde skins with a little yellow in
them. And a dark rose for medium
skins without yellow. Decidedly rachel
skins with yellow tones should use a
coral color nail polish.
5. Soaking the nails in warm oil
every night is the best preventive for
nail brittleness. The oil can be reheated
and used over and over again.
6. A famous beauty specialist says
that coral rouge and lipstick can be used
by nearly every type of woman. Dark
skinned people should apply it merely
with greater intensity.
7. The use of the word henna in the
bleach called "white henna" is a mis-
nomer. There is no henna contained in
it as it is composed of chalk of magnesia.
A specific quantity of ammonia and
peroxide is added to the chalk of
magnesia to form a thick, smooth paste.
8. If you are in the habit of moisten-
ing your lips before applying lipstick,
change it! It only encourages the rouge
to smudge.
Photoplay Magazine for January, 1932
This, dears, is the famed Florentine tarn that Seymour says is the latest hat
fashion. If it looks as well on the rest of us as it does on Dorothy Mackaill,
there will be a run on the millinery departments! That feather is placed in
different ways but always appears on the tam. Dorothy's coat is new, too.
Three-quarter length in dark blue with large white buttons
Queen Marie of Hollywood
[ CONTINUED FROM PACE 33 ]
advantages, to know the right people. She
managed to provide one dress dainty enough
to be worn by the little girl to Sunday School.
Each Sabbath morning she dressed the child
carefully and sent her to the most aristocratic
church in whatever town they happened to be.
" Watch the other children," she would ad-
vise. "They come from nice people."
Marie went on the stage when she was a
young girl to keep her mother and herself from
starving. She at last got a chance to play a
comedy part in an old Weber and Fields show.
Her success was made by the heavy rear end
stage falls she took. Her slapstick comedy
provoked the audiences to hysterics.
At the time, Mrs. Stuyvesant Fish was the
dictator of New York's social elite. She was to
New York society what Mussolini now is to
Italy. When she frowned upon a member of
the four hundred, the cold brown fronts of
Fifth Avenue were immediately closed to the
offender. When she smiled, they were auto-
matically opened.
Mrs. Fish often asked theatrical people to
entertain at her social gatherings, at which
were assembled the great of Europe and
America. Once she asked a prima donna to
sing and later to mingle with the guests. The
diva refused, saying she was hired to sing and
not to join the group where she would not be
accepted as an equal. Mrs. Fish dismissed her
at once.
The following week Marie Dressier received
the royal command. She went, she entertained
and she was asked to remain throughout the
evening. She accepted with alacrity and was so
witty and poised that she was an instant social
success. Mrs. Fish made her her protege, and
that's how Marie's entrance into society was
made.
Later she was entertained by European
royalty, and asked to come again.
She was successful on the stage, she had
many glories, but eventually she was forgotten
professionally. Then she came to pictures.
They accepted her casually. Just another
comic. And it has been only in the last few
years that she has reached that high peak upon
which she now stands.
Marie Dressier has upset all the traditions.
Photoplay and its readers make this sweet
woman a low court bow!
C7°H0USANDS of girls are asking
\D themselves the same question . . .
"How can I make myself the envy of
others and the center of attraction to
men ?"
The answer is simple, pay just a little
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Dr. Pierce's Favorite Prescription, a
tonic in maidenhood, womanhood or
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personality.
Druggists have it, in fluid and tablets.
For free medical advice write to Doctor Pierce's
Clinic in Buffalo, N. Y. Send ten cents for an
acquaintance package of
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Photoplay Magazine for January, 1932
L
let every package say
"GOOD HEALTH to all I"
PUT Christmas Seals on all your Christ-
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too, are doing your bit to fight tuberculosis, !
to protect the health of your community.
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SPECIAL HOLIDAY OFFER
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AN IDEAL CHRISTMAS GIFT
TURN TO PAGE 89
Man About Town
[ CONTINUED FROM PAGE 55 )
' This afternoon," he remarked casually, "■
got to go to town to buy a present for Mr.
Mayer. He's got a birthday coming. What
do you think I ought to give him? A go]
club?"
"Jackie always likes to pick out the presents
he gives, himself," his mother explained.
"Yeah," said Jackie and turned to me.
" I gave her a pocketbook the other day and
she won't use it. She thinks I spent about a
dime on it and it set me back two buck
"But, darling," protested his mother, "■
haven't got a black and white dress it would
go with."
"I'll get you one," he offered promptly.
His roving eye lit on a picture of Richard D«J-
"I used to think Rich was a great guy but I'm
sorta off him now. I've written him three
letters and he hasn't answered a one of theinj
Can you beat it?"
Mr. Dix, please note.
""THERE was a lull in the conversation while
*■ Jackie, after dutifully excusing himseflj
whispered something in his mother's ear. You
ask him," his mother said.
Jackie went over to the piano and returned
with a sheet of music. " 'Sposin' this was a
magazine," he began.
Again I yessed him.
" Well, do you think I'm big enough to have
my picture on the cover?"
I explained that for some reason magazines
with actors' pictures on the cover do not sefl
as well as those with likenesses of actresses.
"Gosh," said Jackie wistfully, "I'd sure likft
to have my picture on one.
"But I'll be darned if I become a female
impersonator to get it."
Well, That's Settled
[ CONTINUED FROM PACE 27 ]
before. She spent two years at the University
of California.
She sits a horse as well and almost as fre-
quently as a cowboy; plays a bang-up game of
tennis and a fair one of golf. When Richard
came down from his ranch where they had
been honeymooning, he said:
"I've never known real companionship be-
fore. It's marvelous. We rode every morn-
ing; we played tennis; we walked. If marriage
is like this, I don't see why we didn't do it
before."
Mrs. Dix is no "fraidy-cat." When they
were airplaning from their quickie-wedding at
Yuma, Arizona, a fog blew in.
The pilot radioed the home station and
received orders to land his precious burdens
at Palm Springs.
The company was taking no chances.
A small landing field. One light. Air pockets.
Real danger.
Director Walter Rubin, best man, was still
shaking the next day. But there wasn't a
peep out of Winifred Coe.
'"THAT'S the answer. A girl, whose father
■*■ had ten millions, spent a year in Hollywood
trying to interest Dix, with whom she had
fallen in love on the screen. She was from
Texas.
Her heart sustained a deep crack when
Richard went silently and indifferently on his
bachelor way.
There was also the girl who tried suicide,
and there was the red-headed society girl from
Pasadena.
Richard has been a fussy guy. Winifred
must be a great girl.
Photoplay Magazine for January, 1932
<r? T'
I'll Have Vanilla"
[ CONTINUED FROM PAGE 72
and she had to start over again. When she
went into her dance, she tripped and fell —
keeping time, picked herself up and went back
into routine. But luck was against her, she was
sure — a poor music start, a bad fall in the
dance . . .
But she was the girl the producer picked.
" Because," he told her afterward, "you showed
you had what it took when you surmounted
those bad breaks and still gave a good act."
And so, at last, Mae Clarke had achieved
professionalism. Many a girl might have
thought the goal had been pretty well won and
rested then and there, but not Mae. She
worked harder than ever. Just being a hoofer
wasn't her idea.
So she worked hard. She did her chorus line
routines hard and well — just as earnestly as
though she were doing a solo number in a spot-
light instead of being just one girl in a line of
twenty-four.
She did a dinner turn in a night club — and
with fifteen minutes between the close of her
routine there, and the curtain of a musical show
she was in, managed to make her way in very
abbreviated costume from the floor show,
eight blocks to the theater, change costume and
be on the stage when the curtain rose.
Now, no girl with ambitions can live that
sort of life without learning lots of things. She
kept her eyes open. One day, an agent asked her
why she didn't make a test for a short film that
was to be made. ''They tried to get Barbara
Stanwyck," he told her, "but she's working.
Maybe you've got a chance."
The short film called for a girl who could
sing, dance and act a dramatic sequence as well.
Singing and dancing were up Mae's alley, but
this was her first chance at dramatic stuff. She
thought back to her "pirate" days, and lived
the part. The test gave her a job in films —
and that's how she came to Hollywood.
Even then, sailing wasn't smooth. Mae had
no beauty. She had no great stage reputation.
She wasn't mysterious. She was just a li'l
hoofer from the East.
She made a test for the ingenue role in "The
Front Page," after working hard for the chance
to make it. But she flopped. They wanted a
Mary Brian type; Mae Clarke didn't fit in.
"Well, why don't you give me a chance at
the other role — the little tough girl?" she de-
manded of Director Milestone. Amused at her
nerve, Milestone let her try it. Mae Clarke
lived the part again — and that's why you re-
member her outstanding work in that news-
paper film.
Well, after that, things began to come easier
for Mae. She had proved her ability. She had
proved her versatility. Casting directors, pro-
ducers began to believe in her. So far, she
hasn't let them down her roles are getting
bigger and bigger and her work is getting
better and better.
"Gee, I wish I had a lollypop. Gee, I wish I had an ice cream cone."
These are not Robert Coogan's real suppressed desires. The most pre-
cocious youngster of them all would much prefer a Rolls Royce. He's
simply rehearsing his lines in "Sooky" while Jack Oakie "cues" him.
Bobby can't read. He memorizes by having the script read to him
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learning. For catalog 16 apply P. Ely. Sec'y. 66 W. 85th St., N. Y.
Casts of Current Photoplays
Complete for every picture reviewed in this issue
"AROUND THE WORLD IN EIGHTY MIN-
— United Arums. — Dialogue by Douglas
inks and Bob Sherwood. Directed by Victor
Fleming.
"ARROWSMITH"— UNITED Artists.— From the
i lair Lewis. Adapted by Sidney Howard.
John Ford. The cast: Dr. Arrovismith,
i Col man; Gottlieb, A. E. Anson: J. torn, Helen
; Mr. I'ozer. Bert
ovak, Adele Watson; Henry '
\l. Qualen; Sondclius, Richard Bennett; City
Clerk, Walter Downing; Joyce Lonyon, Myrna Loyj
Dr. Tubbs, Claude King; Dr. Terry Wickctt, Russell
Hopton.
"CHEAT, THE " — Paramount. — From the story
by Hector Turnbull. Adapted by Harry Hervey.
e Abbott, The cast: Else Carlyle,
Tallulah Bankhead; Jeffrey Carlyle, Harvey Stephens;
Hardy Livingston, Ir\ing Pichcl; Terrell. Jay Fassett;
Mrs, Albright, Ann Andrews; Croupier, William Imer-
soll; Japanese Servant. Hanalci Yoshiwara; 2
Henry Warwick; Judge, Willard Dahsiell; Defense
Attorney, Arthur Hohl; District Attorney, Robert
Strange.
"( ORSAIR" — UNITED \kiisis. — From the novel
by Walton Green. Adapted by Josephine Lovett.
Directed by Roland West. The cast: John Hawks,
Alison Corning. Alison Lloyd;
rd Bentinck, William Austin; "Chub" Hopping,
Frank McHugh; Stephen Corning, Emmett Corrigan;
Kol.ler; "Fish Face." Frank Rice;
"Slim," Xed Sparks; "Sophy," Mayo Methot; Susie
Grenoble, Gav Seabrook; Jean Phillips, Addie
McPhail.
"DEADLINE, THE"— Colvmbu.- From the
story by Lambert llillycr. Directed by Lambert
Hillyer. The cast: Buck, Buck Jones; Helen, Loretta
. Coleman. Robert Ellis; Grady, G. Raymond
Nye; Lesty, Edwin J. Bradv; O/lo, Knute Erickson;
Jimmy. George Ernest; Chloride, Harry Todd; Shores,
Jack Curtis.
"FALSE MADONNA, THE "— Paramount.—
From the Btorj "The Heart Is Young" by May
Edington. Adapted by Arthur Kober and Ray
I by Stuart Walker. The cast: Tina,
Kay Francis; Marcy, William Boyd; Grant Arnold,
Conway Tearle; Phillip, John Breeden; Rose. Mar-
jorie Gateson: Peter . Charles D. Brown; Mrs. Swan-
son, Julia Swayne Gordon.
"FLYING HIGH"— M-G-M.— From the musical
comedy by DeSj Iva, Brown and Henderson and John
McGowan. Screen play by A P. Younger Directed
by Charles ]■'. Reisner. The cast; Rusty. Bert Lahr;
Pansy, Charlotte Greenwood; Sport. Pat O'Brien;
Eileen, Kathryn Crawford; Doctor Brown. Charles
Winninger; Mrs. Smith, Hedda Hopper; Mr. Smith.
Guy Kibbee; Gordon, Herbert Braggioti; GusArnheim
and his orchestra.
"FRANKENSTEIN" — Universal.— From the
story by Mary Wollstonecroft Shelley. Screen play
by Garrett I'ort and F'rancis Edwards Faragoli.
ted by James Whale. The cast: Frankenstein,
(live; Elizabeth, Mae Clarke; Victor, John
'!'):. Monster, Boris Karloff; Dr. Waldman.
Edward Van Sloan; The Dwarf, Dwight Frye; The
Baron, Frederick Kerr.
"FREIGHTERS OF DESTINY"— RKO-Pathe.
— From the story by Adele Buffington. Directed by
Fred Allen. The cast: Steve, Tom Keene; Ruth,
Barbara Kent; Rough, Frank Rice; Ready Billy
Franey; Carter, Mitchell Harris; Mercer, Wm. Welsh;
Frederick Burton; Toller, Slim Whittaker;
Heavy, Tom Bay; Sheriff, Fred Burns.
"GAY BUC KAROO "—Allied Prod.— From the
story by Lete R. Brown. Adapted bv Phillip Graham
White. Directed by Phil Rosen. The cast: Clint
Hale, Hoot Gibson; Mildred Field. Merna Kennedy;
•...!.; R •.;■ D'Arcj HilcwJuttk ? isvir.i Fell
Farro Parker, Charles King; Sporty Bill. Lafe|McKee;
Ibner, Sidney DeGray; Sheet, Bill Robbins.
"GOOD SPORT"— Fox.— From the screen play
by William Hurlbut. Directed by Kenneth Mac-
Kenna. The cast: Marilyn Parker. Linda Watkins;
Boyce Cameron. John Boles; AYv Parker. Allan Dine-
hart; Peggy Burns, Greta Nissen; Mrs. Atherion.
Hedda Hopper; Ginnie, Minna Gombell; Oncotic.
Claire Maynard; September. Louise Beavers; Marge,
Sally Blane; Laura, Betty Francisco; Loretta, Ethel
Kenyon; Nlta, Inez Xorton; Violet, Joan Carr; Fav,
Betty Allen.
"HELL DIVERS"— M-G-M.— From the story by
I.t. Comdr, Frank Wead. Scenario by Harvey Gates
and Malcolm Stuart Boylan. Directed by George
Hill. The cast: Windy, Wallace Beery; Steve, Clark
. Duke, Conrad Xagel; Ann, Dorothy Jordan;
Mamc Kelsey, Marjorie Rambeau; Lulu, Marie
Prevost; Baldy, Cliff Edwards; Griffin, John Miljan:
Admiral. Landers Stevens; Lieutenant Fisher, Reed
Howes; Captain, Admin Ian Roscoe.
"HER MAJESTY. LOVE "—First NATIONAL.—
From the story by R. Bernauer and R. Oestcrrcichcr.
io by Robert Lord and Arthur Caesar. I)
by William Dieterle. The cast: Lia Toerrek, Marilyn
116
Miller; Fred ton Wcllingen, Ben Lyon; Lia's Father,
W. C. Fields; Olmar, Ford Sterling; Baron von
iorf, Leon Errol; Emit, Chester Conklin;
Hanneman, Harry Stubbs; Aunt Ilarrietle. Maude
Eourne: Reisenfeld, Harry Holman: Factory Secretary,
Ruth Hall; The "Third" Man, Win. Irving; Fred's
. Etti, Mae Madison.
"HIS WOMAN"— Paramount.— From the novel
"The Sentimentalist" by Dale Collins. Scenario by
Adelaide Heilbron and Melville Baker. Directed by
Edward Sloman. The cast: Sally (lark, Claudette
Colbert; (apt. Sam Whalen, Gary Cooper; Gatson,
Averill Harris; Alisandroe, Douglas Dumbrillc; Maria
listella, Raquel Davida; Aloysius, Hamtree Harring-
ton; Mark. Sidney Easton; Baby, Richard Spiro;
A^enl, Joe Spurin Calleia; Capt. of Schooner, Lon
Hascal; Mr. Morriscy, Herschel May all;
Customs Inspector. Harry Davenport; Gertrude. Betty
Garde; Flo, Charlotte Wynters; Doctor, John T.
Doyle; Boatswain, Eaward Kcane.
"HOUSE DIVIDED, A"— Universal.— From
the Story by Olive Edens. Directed by William
Wyler. The cast: .SY//i Law, Walter Huston; Mall
Law. Kent Douglass; Ruth Evans. Helen Chandler;
Bess, Vivien Oakland; Mann, Frank Hagney.
Here's a new way to go platinum,
girls ! Antoine, famous hairdresser of
Paris, gives Catherine Dale Owen a
lacquered wig to wear over her own
hair. Note those stiff little curls and
ostrich bang. Very coquettish, what?
"MEN IX HER LIFE"— Columbia.— From the
novel by W:arner Fabian. Adapted by Robert Riskin.
Directed by William Beaudine. The cast: Julia. Lois
Moran; Flashy. Charles Bickford; Count Ivan, Victor
Varconi; Dick. Donald Dillaway; Anton, Luis Alberni;
Maria. Adrienne DAmbricourt.
"MORALS FOR WOMEN"— Tiffany Prod.—
From the story by F'ranccs Hyland. Directed by
Mort Blumenstock. The cast: Helen Hutson, Bessie
Love; Van Dyne. Conway Tearle; Paul Cooper. John
Holland; Flora, Natalie Moorhead; Mrs. Hutson,
Emma Dunn; Lorraine Hutson. June Clyde; Mr.
m, Edmund Breese; Bill Hutson. David Rollins;
Claudia, Lina Basquette; Maybelle, Virginia Lee
Corbin.
"XECK AXD NECK"— Thrill-O- Drama.—
From the story by Betty Burbridge. Directed by
Richard Thorpe. The cast: Bill Grant, Glenn Tryon;
Norma Rickson. Vera Reynolds; Hector, Walter
Brennan; Col. Rickson, Lafe McKee; Frank Douglas,
Carroll Nye; The Hustler. Stej.in Fetchit; Bookie,
Lloyd Whitlock; Aunt Susan, Fern Emmett; Crystal.
Rosita Butler.
"OPERA B \LL" — Greenbaum Emelka Prod.—
Directed by Max Neufeld. The cast: Dr. Peter V.
Bodo. Ivan Petrovich; Helga, Liane Haid; Georg,
Georg Alexander; V. Arnolds. Otto Wallhurg; Vicky,
Betty Bird; Ilona Anlalffy, Irene Ambrus.
"OVER THE HILL"— Fox.— From the poem b*
Will Carleton. Screen play by Tom Barry and Jules
Furthman. Directed by Henry King. The casta
Johnny, James Dunn; Isabel, Sally Filers; Ma. Msa
Marsh; Pa, James Kirkwood; Tommy, Edward Cran-_.
dall; Phyllis, Claire Maynard; Isaac, Olin How land;
Minnie, Eula Guy, Susan. Joan Peers; Ben, William
Pawley; Letch, George Reed; Stephen, Dougwfl
Walton; Bill Collector, David Hartford; Johnny (*■
child). Tommy Conlon; Isabel (as child), Nancy IrislS
Tommy (as child), Julius Molnar; Isaac (as chil a
Hachey; Susan (as child). Marilynn Harris.
"PEACH O'RENO" — Radio Pictures.- !
the story by Tim Whelan. Adapted by Ralph Spencfl
Directed by William Seiter. The cast: Wattle
Wheeler; Swift, Robert Woolsey; Prudence. D
Lee; Joe Bruno, Joseph Cawthorn; Aggie Bruno. Co
W itlierspoon; Pansy, Zelma O'Neal; Judge Jackso
Sam Hardy; Crosby, Mitchell Harris; The Secrelar
Arthur Hoyt.
" POSSESSED "—M-G-M.— From the play "
by Edgar Selwyn. Adapted by Lem
Coffee. Directed by Clarence Brown. The
Marian. Joan Crawford; Mark Whitney. Clark Gal
At Manning. Wallace Ford; Wally, Skeets Gallagh
Trovers, Frank Conroy; Vernice, Marjorie V
John Driscoll, John Miljan; Mother, Clara Blandick.
"RACING YOUTH "—Universal.— From the
screen play by Earl Snell. Directed by Vin Moor*
The cast: Teddy Blue, Frank Albertson; Amo^M
Cruickshank. June Clyde; Daisy Joy. Louise Fazenda;
slim. Slim Summerville; Brown. Arthur Stuart Hull;
Sanford. Forrest Stanley; Ian, Eddie Phillips; Date,
Otis Harlan.
"RANGE LAW"— Tiffany Prod.— From the
story by Earle Snell. Directed by Phil Rosen. The
cast: Hap Conners. Ken Maynard; Ruth II
Frances Dade; Blont.' Frank Mayo; The Sheriy
Rockwell; Frisco, Lafe McKee; Legal, Charles King.
"RICH MAX'S FOLLY"— Pa ramoi-nt.— From
the story "Dombey and Son" bv Charles Dickensr
Adapted by Grover Jones and Edward Paramore. .
Directed by John Cromwell. The cast: Brock Trut
bull, George Bancroft; Anne Trumbull. Frances
Joe Warren, Robert Ames; Paula Norcross, Juliet
Compton; Brock Trumbull, Jr.. David Duranc .
Katherine Trumbull. Dorothy Peterson; Hi
Harry Allen; Kincaid. Gilbert Emery; Daytoi
Oliver; Anne (aged S), Dawn O'Day; Slarston, George
McFarlane; Johnson, William Arnold.
"SAFE IN HELL "—First National.— Adapted
by Joseph Jackson and Maude F'ulton. Directed by
William A. WVllman. The cast: Gilda Carlson,
Dorothy Mackaill; Carl Bergen. Donald Cook; Pill
\'an Saal, Ralf Harolde; Bruno. Morgan Wallace:
Gomez. Victor Varconi; Egan. John Wray; Jones,
Chas. Middleton; Larsen, Gustav Von Seyffertits;
Leonie. Nina Mae McKinney; Angle, Cecil Cunning-
ham; Old Tar, George Marion, Sr.; Bobo, Noble
Johnson.
"SPECKLED BAND. THE"— First Division.—
From the story by Sir Arthur Conan Doyle. Adapted
by W. P. Lipscomb. Directed by Herbert Wilcox.
The cast: Dr. Rylolt. Lyn Harding; Sherlock Holmes,
Raymond Massey; Helen Slonor. Angela Baddeley;
Dr. Watson, Athole Stewart; Mrs. Staunton. Nancy-
Price.
"SPORTING CHANCE. THE"— Peerless
Prod. — From the story by King Baggot. Continuity
by Rex Taylor. Directed by Albert Herman. The
cast: Terry Xolan, William Collier. Jr.; Mary Bascom,
Claudia Dell; Phillip Lawrence. Jr., Jarhc-
Phillip Lawrence. Sr. Joseph Levering; "Horse-shoes,"
Eugene Jackson; Aunt Hetty. Hedwiga Reicher;
Master of Lawrence's Stable. Mahlon Hamilton; Blake,
Crooked Jockey, Lewis Sargent; Mullins, Henry
Roquemore.
"SUICIDE FLEET "—RKO-Pathe.— From the
story by Commander Herbert A. Jones. Scenario by
Lew Lipton. Directed by Albert Rogell. The ca*K
Baltimore. Bill Boyd; Dutch, Robert Armstrong:
Skeets. James Gleason; Sally. Ginger Rogers; Com-
mander. Harry Bannister; Holtzmann, Frank Reicher;
Kid, Ben Alexander; Capt. Yon Stuben, Henry Victor;
trlz, Hans Joby.
"SURRENDER"— Fox.— From the story "Ax-
elle" by Pierre Benoit. Adapted by Sony a Levies
and S. N. Behrman. Directed by William K.
Howard. The cast: Dumaine, Warner Baxter; Axrlle.
Leila Hyams; Count Reichendorf. C. Aubrey Smith:
Dietrich, Alexander Kirkland; Captain Elbing. Ralph
Bellamy; Goulot, William Pawley; Clavrrie, Howard
Phillips; Vandaele. Bert Hanlon; Gotlleib. ToB
Ricketts; Dominica. Bodil Rosing: Fichet, C,
Beranger; Hugo. Frank Swales: Midler. JoseM
Sauers; Audemard. Albert Burke; Syhcstrc. Jack
Conrad.
"TAXI" — Warner Bros. — From the sto:
Kenyon Nicholson. Adapted by Kabec Glasmon and I
John Bright. Directed by Roy Del Ruth. The cast:
James Cagney; Sue. Loretta Young; -Ua»l
Dorotliv Burgess; Skeets. George E. Stone: Pop R<wj
Guv Kibbee; Ruby. Lila Bennett; Pcpi. David
Photoplay Magazine for January, 1932
II7
I andan; Danny, Ray Cooke; Priest, George McFar-
land; Slats, Eddie Nugent; Joe Silver, Matt McHugh;
Goldfarb, Otto Lederer; Danny's Ctrl. Polly Walters;
Detective Lieutenant, Charles Middleton; Judge,
Burton Churchill; Truck Driver, Nat Pendleton;
Marriage License Clerk, Russ Powell.
"THIRTY DAYS"— Patrician.— From the story
by Hal Conklin. Adapted by Gertrude Orr. Directed
by Alan Crosland. The cast: Joyce Moore, Maureen
(I Sullivan; Kale Flynn, Hetty Compson; Larry
(lark, John Warburton; Muhael Moore, Montag'i
Love; Jerry Green, Cornelius Kcefe; Torn Douglas
John Holland; Mrs. O'Brien, Grace Valentine; Bobby
n, Wally Albright; Dancer, Doris Lee, Mary
Doran; Matron, Martha Mattox; Matron, Jayne Kerr.
"TIP OFF. THE"— RKO-Pathe. — From the
story by George Kibbe Turner. Scenario by Earl
Baldwin. Directed by Albert Rogell. The cast:
Tommy, Eddie Quillan; Kayo McClure, Robert Arm-
strong; Baby Face, Ginger Rogers; Edna, Joan
Peers; Nick Valelli, Ralf Harolde; Pop Jackson,
Charles Sellon; Swanky, Mike Donlin; Slug, Ernie
Adams; Joe, Jack Herrick; Miss Waddums, Cupid
Ainsworth.
"TONIGHT OR NEVER"— United Artists.—
From the stage play by Lili Hatvany. Scenario by
Ernest Vajda. Directed by Mervyn LeRoy. The
cast: Nella Vago, Gloria Swanson; Rudig, Ferdinand
Gottschalk; The Butler, Robert Grieg; The Maid,
Greta Mayer; Count von Gronac, Warburton Gamble;
The Unknown Gentleman. Melvyn Douglas; The
Marchesa, Alison Skipworth; The Waiter, Boris
Karloff.
"TOUCHDOWN" — Paramount. — From the
novel "Stadium" by Francis Wallace. Scenario by
Grover Jones and William Slavens McNutt. Directed
by Norman McLeod. The cast: Dan Curtis, Richard
Arlen; Mary Gehring, Peggy Shannon; Babe Barton,
Jack Oakie; Paid Gehring, Charles Starrett; Tom
Hussey, Regis Toomcy; Gehring, George Barbier.
"WORKING GIRLS"— Paramount.— From the
story " Blind Mice" by Vera Caspary and Winifred
Lenihan. Adapted by Zoe Akins. Directed by
Dorothy Arzncr. The cast: Ferguson, Paul Lufcas;
June Thorpe, Judith Wood; Boyd Wheeler, Charles
Rogers; Mae Thorpe, Dorothy Hall; Kelly, Stuart
Erwin; Mrs. Johnstone, Mary Forbes: Louise Adams,
Frances Dee; Loretla, Dorothy Stickney; Lou,
Frances Moffett; Jane, Claire Dodd; Verne, Edith
Arnold; Ellen, Marion Byron: Baliy, Yvonne Howell;
Winnie, Gay Sheridan; Maude, Stella Moore; Mazie,
Geneva Mitchell; Carrie, Shiela Mannors; Freda,
Ruth Canning; Fannie, Jane Mercer; Alice, Sue
Gomes; Elsie, Lisa Gora; Violet, Alberta Vaughn;
Mrs. Adams, Virginia Hammond; Modiste, Marjorie
Gateson; Miss Gray, Gretta Gould; Elsie's Boy
Friend, Mischa Aucr.
"X MARKS THE SPOT"— Tiffany Prod —
From the story by Warren B. Buff and Gordon Kann.
Continuity by F. Hugh Herbert. Directed by Erie
C. Kenton. The cast: George Howe, Lew Cody; Sue,
Sally Blane; Ted Lloyd, Wallace Ford; \ivyan Parker,
Mary Nolan; Riggs, Fred Kohler; Inspector Branni-
gan, Charles Middleton; llorlense, Virginia Lee
Corbin; Gloria, as child, Helen Parrish; Gloria, 7 years
later, Joyce Coad; Eustace, Clarence Muse; Ginsberg,
Murray Smith; District Attorney, Richard Tucker.
"YELLOW TICKET, THE"— Fox.— From the
stage play by Michael Morton. Scenario by Jules
Furthman. Directed by Raoul Walsh. The cast:
Marya Varenka, Elissa Landi; Baron Stephen Audrey,
Lionel Barrymore; Julian Rolph, Laurence Olivier;
Count Nikolai, Walter Byron; Mother \'arenka, Sarah
Padden; Grandfather Varenka, Arnold Korff; Mel-
choir. Mischa Auer; Orderly, Boris Karloff.
SUN DRENCHED
Health-Giving
Winter Days
This pooch hasn't a pedigree, but he claims to be the biggest dog in the
world and was one of the chief attractions at a Hollywood "mutt" show,
where blue bloods weren't allowed. Dickie Moore and Georgie Ernest,
two First National child actors, weigh less together than Elak does
• The world-famous Ambas-
sador offers a new outdoor
attraction. . . A BEAUTIFUL
SUN-BATHING BEACH, PLUNGE
AND COMPLETE RECREA-
TIONAL CENTER, WITH
SOLARIUMS AND PHYSICAL
CONDITIONING DEPART-
MENTS IN CHARGE OF EXPERT
ATTENDANTS. Available to
guests early in January.
• The charm of desert sands,
ocean beach, swimming all
within the Ambassador's own
22-acre park. Not a sanitarium
... a playground to make tired
people well andwell people better.
• This center of Los Angeles
and Hollywood social life also
offers tennis courts, 18-hole
miniature golf course, archery,
flowered pergola walks, cactus
gardens, theatre, Cocoanut
Grove for dancing, 35 smart
shops. Ambassador auditorium
seats 7,000. Guests have privi-
lege of champion 18-hole
Rancho Golf Club.
Most Attractive Rates
. . , Outside rooms
with Bath as low as
$5 per day. Write
for Chefs booklet
of California recipes
and information.
"Che AMBASSADOR
LOS ANGELES
BEN L. FRANK
Manager
Cal York's Monthly Broadcast from Hollywood
1 U)M1M ED FROM PACE 93
CLARK GABLE'S wife is an attractive
little woman who comes not quite to
Clark's shoulder. Sin- dresses in quiet clothes
anil never raises her voice, but she looks up at
(lark with that mixture of pride and admira-
tion you'd expect her to show. She is happy to
take care of him and his home and she laughs
to herself when all the women Rush over him.
TTAROLD LLOYD is looking for a
■'—'•leading woman again. He wants
her for his next picture.
But she needn't expect the break
he gave his former leading woman.
He married her —Mildred Davis.
' I 'HE real story behind the announcement of
-*- Marjorie Rambeau's marriage to Francis
A. Gudger, retired millionaire, is one of the
sweetest ever told. They hurried to Arizona
where no one would make objections, for
always some one had interfered with what
should have been a great love match years ago,
for when Marjorie first loved Francis he was a
poor boy and she a little girl with stage am-
bitions.
Her family believed in her ability and per-
suaded her to stay single. Later she made a
name for herself and married Willard Mack,
whom she divorced in 1917. Two years later
she married Hugh Dillman. Then she divorced
him.
Gudger also married. His wife died and
months afterwards he came to California to
try to win the woman he'd always loved. In
the meantime he'd sold his mica mine for
twenty-six millions.
They knew, meeting all those years later,
that they were still desperately in love but
Marjorie felt, at first, that she couldn't leave
her sister, Thelma, who depended upon her
for affection. However, Gudger won and
Marjorie, the list of whose trials are longer
than the congressional report, is happy at last.
She says she's through with the stage and
screen. She and her husband are going to
travel and be very gay and carefree.
JUST before her marriage and her rcnuncia-
•'tion of pictures a studio executive sent for
Marjorie Rambeau to tell her the story of a
picture he was going to produce in which he
thought there would be a rnle for her.
Marjorie listened patiently. She knew the
story. She'd played it on the stage dozens and
dozens of times. But she didn't interrupt.
When the executive had finished he said,
'Now I, personally, think you can do the
part, but we'd like someone with stage expe-
rience. Have you ever had any stage experi-
ence?"
And the exec is still a little bewildered by
Marjorie's laugh.
TD OBERT COOGAN was carving a
-*-^- stick on the set.
"What are you making?" asked a
passerby.
"An airplane," answered five-year-
old Robert.
"But where's the propeller? You
never saw an airplane without a pro-
peller."
"All right," said Robert, "it's a
glider."
TF you ask Eddie Robinson to tell you honestly
-*-and truthfully who is the best actor in
Hollywood, he'll say without a single blush,
"I am." He has less of an inferiority complex
than any other player. And "That guy," he'll
say (naming another actor), "is a ham."
It' is Robinson's supreme confidence in him-
self and his ability which make him the fine
and versatile actor he is. He hesitates at
nothing. He always says when asked if he
feels he can play a certain part, "Sure I can
do that."
And when the test is made he always proves
that he can.
He doesn't think he's handsome. But he
knows he's a good actor and he's honest
enough to admit it.
nrilERE are two Roumanians in the Holly-
•*■ wood colony. Both arc artists. Garbo,
speaking of one of them said: "To be a Rou-
manian in Hollywood is not a nationality; it's
a profession."
f'RETA GARBO walked up and down the
^-Ilong gallery in front of the women's dress-
ing rooms for an hour the other day. She
thought she was alone, but all the other stars
were peeping at her from their own rooms.
Hedda Hopper said, " She was like a caged lion
raging up and down. She was superb, as superb
as all her Viking forefathers." Hedda's never
met her.
■D ESEMBLIXG Greta Garbo is one of the
-*-^-most lucrative businesses these days. All
you need is a pair of sloe eyes, a long bob and
a slithery walk and — presto! — you're a success.
Or at least you're assured a job.
A girl named Bobbie Holmes was modeling
cloaks and suits in the wholesale district of
Xew York. Somebody from the very smart
Bruck-Weiss shop saw her and exclaimed,
"She looks like Garbo." The girl was imme-
diately hired to model in the exclusive store at
double her salary. Photographically, she is not
as much like the Garbo as she is in person. She
rather creates the illusion of Garbo. She's five
feet nine, wears a size 7}> shoe and a size
14 frock.
Wajr^erJ3ros. Pictures. Lx(
To (FNIU^. tLv\()\TldiANTv,V\TlTt{i:STG0>fP.VNY NQV 1Q 1Q*±
-33
S20C
7 0 BSOADWAY
NkwYorkCitt. N.Y.
3082
Dollars
JANc E. CONSICINE
S 2000. 00
\^ A I^N K K. B RO S . PlCTU Fy= S , L\
1 )AV TO THE
1 ORDLk ok
.
__
118
Here's what the mailman left in Jane E. Considine's letter box. And we bet there was a big
celebration. Jane is the lucky and clever girl whose original story "Beauty and the Boss" won
the PHOTOPLAY-Warner Bros, story contest. The $2,000 will go toward her education. She's a
junior at a university in Switzerland now. Remember the name. You'll be hearing more of her
Photoplay Magazine for January, 1932
II9
BELLE BENNETT -
remember her in
'Stella Dallas," don't you? — hasn't worked
in pictures for quite a while. But now she's
going on a circuit in a one-act stage produc-
tion. There's a reason for this — a big reason.
Belle is the adopted mother of sixteen children
• — count 'em, or you count 'em, Belle. They're
all her first cousins and she supports them and
their mothers.
That's quite a few mouths to feed.
JUST say "dressing room bungalow" to any
producer and he'll say
(no, no, printer, you mustn't print that). At
Wurners there are two of the elaborate edifices.
Originally built for Colleen Moore and Corinne
Griffith they've both been vacant for some
time with all the First National stars bicker-
ing for them. Now Ruth Chatterton grabs off
the Colleen Moore one. Who'll get the other?
Will it be Barbara Stanwyck, Kay Francis,
Marilyn Miller or Dorothy Mackaill? Or will
it be Connie Bennett when she comes to the
studio to do another picture? My personal —
and not very private — bet is that Connie will
settle down on the old Griffith homestead.
In the meantime, the fight flourishes.
XTARIETY would have you believe
* that when Estelle Taylor was in
Boston she was asked to sign a guest
book at City Hall when she noted
that the last name signed was that of
Benny Leonard.
She paused, pen in hand and said,
"After all the years I've been with a
heavyweight you expect me to sign
with a lightweight!"
TV/f ARIE DRESSLER is going fashionable
*■ * ■'■on the home folks. She has sixteen changes
of elaborate costumes in "Emma" . . . And
she loves it. . . . The three minutes darkness,
a tribute to Thomas A. Edison, cost the studios
thousands of dollars. But nobody complained.
Without Edison there would have been no
movies. . . . The last thing Arlene Judge did
before she married Wesley Ruggles was to
talk long distance to her mother who couldn't
be at the wedding . . . And the two sobbed
together across those three thousand miles.
. . . Noah Beery is one player who wants his
son to be an actor . . . The kid's already
played a number of bits and will be featured in
a series of Westerns soon. . . . Janet Gaynor
is recovering from a nervous breakdown.
A GROUP of Hollywood's holier-
•**■ than-thou's were talking about
the bad, bad actors.
"They're what gives Hollywood a
bad name, with their evil doings,"
they agreed.
An actor overheard. Angry-faced
he strode up to the group of knockers.
"Let me tell you," he said plenty
loud, "that you don't know what
you're talking about. Why, I myself
know of an actor who disproves
everything you say — he was tried
twice for alienation of affections,
once for driving while drunk, and
once for bigamy.
"And he was acquitted every
time!"
"D ICARDO CORTEZ loves polo but three
vmonths ago he said he was not going to
buy any ponies because he couldn't afford
them. He has a new contract with Radio —
and three new polo ponies!
[ PLEASE TURN TO PAGE 120 ]
What Do You Want To
Know About The Pictures?
Is it a good picture?
Is it the kind of picture I would like?
Which one shall we see tonight?
Shall we take the children?
PHOTOPLAY will solve these problems for
you — save your picture time and money.
PHOTOPLAY MAGAZINE
is truly the outstanding publication in
the great field of motion pictures. Its
stories, its special articles, its exclusive
features and departments are absolutely
different from anything to be found
anywhere else.
Photoplay's
"Shadow Stage"
is nationally famous. Here
are reviews of all the new
pictures, with the casts of
all the players. Photo'
play also prints monthly
a complete summary of
every picture reviewed in
its pages for the previous
six months. These are
but a few of a dozen great
departments in which
Photoplay is as up-tO'
the-minute as your daily
newspaper. You cannot
really know the fascinating
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you are a regular reader of
PHOTOPLAY
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A wealth of intimate details of
the daily lives of the screen stars
on the lots and in their homes.
Striking editorials that cut, with'
out fear or favor, into the very
heart of the motion picture in-
dustry.
Authorized interviews with your
favorite actors and actresses who
speak frankly because Photoplay
enjoys their full confidence.
Articles about every phase of the
screen by outstanding authori-
ties who have made pictures their
life business.
SUPERB FICTION
by the Foremost Writers
PHOTOPLAY MAGAZINE
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Cal York's Monthly Broadcast from Hollywood
.1 I.J> I ROM PAGE 110)
"TXOROTHY MACK. MI. I. is not going to
^-'have husband Neil Miller known as "Mr.
Mackaill." Xo, ma-ma I The two have taken
a simple apartment of two rooms at the Cha-
teau Klysee and Neil pays the hills from his
modest salary as chief crooner at the Embassy
Club.
I torothy has turned her Santa Monica beach
. which was once the scene of many
whoopee parties, over to her mother. Inci-
dentally, before the marriage Ma Mackaill
wasn't so fond of young Miller and used to
refer to him as "the Shreik." But now she's
reconciled and all is forgiven.
A FRIEND met Nils Asther for
the first time in months. "You
have certainly improved your Eng-
lish, Nils !"
"Ya? You tank so?" said Nils and
just that pleased.
A N electrical sign over a theater
-**-in Brooklyn read: "tf it's a
Paramount picture it's the best show
in town!" "The Magnificent Lie."
HTHIC publicity department at Metro wanted
■*■ some pretty girl to pose with Johnny
Weissmuller, the swimming champion. They
sent for Una Merkel and provided a lovely
bathing suit for her.
When she arrived at the pool, she asked in-
nocently if they would like to have her get into
the water. They replied that it wasn't neces-
sary for her to risk that; all she had to do was
to look pretty.
" But I'd like to go in!" she answered. They
gave permission and were amazed to see her
take a quick dive and do many of the strokes
for which the champion himself is famous.
They spent the afternoon taking pictures of
the two of them in action.
Wf *g f*. BAB,/* a
Here's something to do with your old Christmas cards instead of giving
them a glance or a sniff) and tossing them into the waste basket. It's
Lucille CTeason's idea. She, along with hubby Jimmie and son Russell,
receive hundreds every year. She pastes the greetings on a plain wooden
screen, covers it all with shellac and— presto! —has a grand piece of furni-
ture for beach house or sun porch
1 .'<>
"T_rO\V many times have you appeared in
■*- Athis court?" Municipal Judge Paonessa
asked Bert Wheeler, film comedian, appearing
before him charged with speeding.
"I don't know, judge. I thought you were
keeping score," answered Wheeler.
Wheeler tried several other jokes. Finally
the judge demanded impatiently, "Are you
guilty, or not guilty?"
Wheeler admitted being guilty.
Ten dollars or two days and if you think
that's a joke let's see you laugh!" the judge
said.
Wheeler paid up and shut up.
"D OLAND YOUNG insists that he
-*-^- was named after his grand-
mother's pet canary which died only
a few days before he was born.
"Thus, the name was left tempo-
rarily vacant in the family; I was
the first one who happened along to
take it."
A/TARLENE DIETRICH'S six-year-old
■lvj-baby girl shocked even the Hollywood
colony at Santa Monica the other day. She
got away from her nurse while sunbathing,
and strolled the beach in the nude. Chorus
girls, yeah — but a six-year-old! My, how the
men blushed.
CTAN LAUREL and Oliver Hardy were
Splaying poker between scenes.
"Camera," called the director.
"That's a hundred dollars you owe me,"
said Stan.
"Hey! Wait!'' screeched Oliver indignantly.
"You didn't say anything about playing for
money!"
"I wasn't sure
blandly.
I'd win," Stanley said
A STAR had been in Mexico, on
■**• a deer-hunting vacation between
pictures. The actor breezed into
the newspaper office and demanded
blood. "Who," he roared, "is the
so-and-so who printed this about
me?" And he waved a clipping
which said he was in Mexico, hunt-
ing beer.
TTOLLVWOOD raised its best plucked eye-
■*■ -*-brows when it was announced that Polly
Moran was to be mistress of ceremonies at the
opening of a Phoenix, Arizona, theater. This
requires tact, diplomacy, dignity and a certain
culture. How could dragged-up-by-the-scruff-
of-the-neck Polly iranage such a job? Polly
thought she'd show 'em.
She spent the morning of the opening going
to all the women's clubs, the service clubs and
the chamber of commerce. When she came
back to her hotel to dress for the theater
ceremony her feet were so swollen she couldn't
get her shoes on, so she wore her bedroom
slippers on the stage and begged the audience
to forgive her.
No society woman could have made a more
polished and dignified speech. One Phoenix
woman insisted upon knowing from what uni-
versity Polly had graduated because she
wanted to send her daughter there!
EXTRA!
M-G-M
NEWS EXTRA!
THE KNOCKOUT PICTURE
OF THE YEAR!
Don't fail to get a ringside seat
at your favorite movie theatre
to see Wallace Beery as "the
Champ" fight for his boy, Dink
(Jackie Cooper). You will be
thrilled beyond words by this
story of a battered, broken down
pugilist trying to stage a come-
back because his boy believes him
to be the greatest fighter in the
world. You will not be ashamed
to brush away a tear as the
Champ makes his last great sac-
rifice for his boy. And you will
say, with millions of other movie
fans, "Beery is great — Jackie
Cooper is marvelous — The
Champ is truly the knockout pic-
ture of the year!"
i
He loved this boy of his more than
anything else in the world — but
knew that the best thing he could
do for hhn was to go out of his life
forever ... a world of pathos and
cheer in a picture
WALLACE
JACKIE
BEERY COOPER
The
CHAMP
with Irene RICH — Roscoe ATES
A KING VIDOR PRODUCTION
Story by Frances Marion Dialogue Continuity by Leonard Praskins
A METRO - GOLDWYN • MAYER Picture
bully old slogan hits
me just right-
ft 1
...no bamboozlin ' about that!
y>
OURE! When a word fits, you know it!
"Satisfy" just Jits ■ CHESTERFIELD. A
smoker picks up a package, and he likes its neat
appearance — no heavy inks or odors from ink.
That satisfies him.
Then he examines a Chesterfield. It is well-
filled; it is neat in appearance; the paper is pure
white. And that satisfies him.
He lights up. At the very first puff he likes
the flavor and the rich aroma. He decides that
it tastes bitter — neither raw nor over-sweet; just
pleasing and satisfying . . . Then he learns it
is milder. That's another way of saying that
there is nothing irritating about it . . . And again
he's satisfied!
Satisfy — they've got to satisfy! The right to-
baccos, the CHESTERF1KLD kind, cured and
aged, blended and cross-blended, to a taste that's
right. Everything that goes into CHESTER-
FIELD is the best that money can buy and that
science knows about. CHESTERFIELDS do
a complete job of it. They Satisfy!
© 1931. Liccctt & Myi-rs Todacco Co.
The NEWS MAGAZINE of the SCREEN
FEBRUARY
25 CENTS
30 Cants in Canada
Nhy Constance Bennett is
JnPOPULAR in HOLLYWOOD
NATURALLY I III Sll
never parched, never toasted!
The cool, flavorful freshness of Camel cigarettes
is purely a natural product.
It is attained not by any mysterious processes,
but simply by preserving the full natural good-
ness of fine sun-ripened tobaccos.
These choice tobaccos of which Camels are
blended — fine Turkish and mild Domestic
tobaccos — are never parched or toasted.
On the contrary we exercise every care and
precaution to safeguard the natural moisture
which is infused with their mildness and flavor.
That's why the Camel Humidor Pack is such a
boon to Camel smokers — it could do little or
nothing except for the fact that the cigarettes
we put into it are fresh to start with.
To see what that means in cool, smooth, throat-
friendly smoking pleasure, switch to fresh Camels
for just one day — then leave them, if you can!
R. J. REYNOLDS TOBACCO COMPANY, Winston-Salem, S. C.
R. J. Reynolds Tobacco Company's Coast -to-Coast Radio Programs
CAMEL QUARTER HOUR, Morton Downey, Tony
Wons, and Camel Orchestra, direction Jacques Renard,
every' night except Sunday, Columbia Broadcasting System
PRINCE ALBERT QUARTER HOUR, Alice Joy, "Old
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Loan, every night except Sunday, N. B. C Red Network
See radio page of local newspaper for time
© 1932. R. J. Reynolds Tobacco Company
Don't remove the moisture-proof wrapping
from your package of Camels after you open it.
1 he Camtl Humidor Pack it protection against
perfume and powder odors, dust and germ*.
In offices and bonus. citn in the dry atmosphere
of artificial beat, the Camel Humidor Pad
delivers fresh Camels and keeps them right
until the last one has been smoked
Camels
Made I II I s II — §i < /> t FRESH
Photoplay Magazine for February, 1932
HIGH-HATS or OVERALLS!
Women especially should be concerned about the looks of their teeth
and their husband's teeth. Follow the new dental developments. Use
Ipana and massage. Beauty of the teeth, preservation of the gums in
a healthy state will reward you.
This is Ipana Tooth Paste. Use it on your teeth. Massage it into
your gums. Keep your gums firm and healthy with Ipana and
massage, and you will be delighted with the fine, clean appearance
of your teeth — the only teeth you will ever have.
You may live on Easy Street, or work like
a slave — either way, you can have plenty
of grief from soft gums. "Pink tooth
brush" can happen to anyone'.
As a child, you had good, sound gums.
But now? No! Why? Because, like all the
modern world, you eat soft foods. And
soft foods don't give your gums enough
work to keep them vigorous and firm.
t> Gradually your gums have become lazy,
touchy, and tender. They probably leave
traces of "pink" on your tooth brush.
And unless you set them to work right ■ — twice each day. But each time rub a
now, gingivitis, Vincent's disease, or even little extra Ipana into your gums,
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ger the health of sound teeth? — and your gums will be harder and
Get after "pink tooth brush" — begin- healthier. Go on using Ipana with massage
ning today. Brush your teeth with Ipana — and forget about "pink tooth brush"!
I_ ^ a k. ■ A BRISTOL-MYERS CO., Dept. 1-22
|^\ A Ik. A 73 West Street, New York, N. Y.
3 M\ IV i\ Kindly send me a trial tube of IPANA TOOTH
W^^ M m I ^^1 # % PASTE. Enclosed is a rwo-cent stamp to cover partly
^P*i^^ ^^B ^^^^ the cost of packing and mailing.
TOOTH PASTE lEEEEEEE=i
Photoplay Magazine for February, 1932
CLIVE BROOK
SHANGHAI EXPRESS
with CLIVE BROOK, Anna May Wong, Warner Oland and
Eugene Pallette. Directed by Josef Von Sternberg
All men desired her,' this ravishing, mysterious creature whose
scarlet life held many men — whose Love only one had ever
known ! Parted, they meet again, on the Shanghai Express —
seething with intrigue, desire, hatred — hurtling through the night
with a dead man at the throttle . . . Marlene Dietrich in the year's
greatest melodrama — another Paramount "best show in town!"
n^ammmmt IR CpicUum
PARAMOUNT PUBLIX CORP., ADOLPH. ZUKOR, PRES. PARAMOUNT BUILDING, N. Y. C
The World's Leading Motion Picture Publication
Vol. XLI No. 3
JAMES R. QUIRK, Editor and Publisher
February, 1932
i
Winners of Photoplay
Magazine Gold Medal for
the best picture of the year
1920
1921
1922
HUMOR-
"TOL'ABLE
"ROBIN
ESQUE"
DAVID"
HOOD"
1923 1924 1925
"The "ABRAHAM "THE BIG
COVERED LINCOLN" PARADE"
WAGON"
1926 1927 1928
"BEAU "7th "FOUR
GESTE" HEAVEN" SONS"
1929
"DISRAELI*
"ALL QUIET ON THE
WESTERN FRONT"
Information and
Service
Brickbats and Bouquets .... 6
Friendly Advice on Girls'
Problems 74
Questions and Answers .... 82
Hollywood Menus 85
Addresses of the Stars 121
Screen Memories from Photoplay . 122
Casts of Current Photoplays . . . 124
I
High-Lights of This Issue
Close-Ups and Long-Shots . .... James It. Qlirk 25
The Man That Gloria Married Eulalia Wilson 28
Any Woman Can Be Beautiful Sylvia 30
Why Constance Is Unpopular In Hollywood . . . Ruth Biery 34
Cal York's Monthly Broadcast from Hollywood .... 36
Photoplay's Tintypes Sara Hamilton 46
"Murders in the Rue Morgue" 56
The New Gretna Green Harry Lang 58
Seymour — Photoplay's Style Authority 61
The Unknown Hollywood I Know .... Katheiune Albert 65
Whom Would You Leave Behind in the Desert? .... 70
Come With Us and Peek into Lilyan's Brand New Wardrobe . . 72
Hair Tricks That Change Your Face . . . Carolyn Van Wtck 74
Will Marlene Break the Spell? Kay Evans 76
It's All Done With Scissors 80
Studio Rambles Sara Hamilton 128
Photoplay's Famous Reviews
Brief Reviews of Current Pictures 8
The Shadow Stage 48
Short Subjects of the Month 120
Personalities
What Happened to Harry Langdon . . . Katherixe Albert
When Nordic Met Latin Ralph Wheelwright
To the Head of the Class Leonard Hall
What Hollywood Did to a New England Sehoolmarm
Llewellyn Carroll
Maurice Chevalier and Robert Coogan
Marion's Philosophy R^h Biery
40
45
53
54
67
68
Published monthly by the Photoplay Publishing Co.
Editorial Offices. 221 W. 57th St., New York City Publishing Office, 919 N. Michigan Ave., Chicago, 111.
The International News Company, Ltd.. Distributing Agents. 5 Bream's Building. London, England
James R. Quirk. President Robert M. Eastman. Vice-President Kathryn Dougherty. Secretary and Treasurer
Yearly Subscription: $2.50 in the United States, its dependencies. Mexico and Cuba; S3 .50 Canada:^ for mf°re^knc°w"t"esvouRem,ttanCI8
should be made by check, or postal or express money order. Caution— Do not subscribe through persons unknown to you.
Entered as second-class matter April 24. 1912, at the Postoffice at Chicago. 111., under the Act of March 3. 1879.
Copyright. 1932, by the Photoplay Publishing Company. Chicago
/
Wh
JlL
at the jrludience
Th
inns
k
With Brickbats and Bou-
quets Photoplay Readers
Voice Their Opinions of
Pictures and Personalities
THE $25 LETTER
I wouldn't exchange my $25 a week for
Clark Gable's thousands. When I am through
for the day, no 'phone rings to ask me to make
retakes. I can take my girl to a movie and no
one will say where we went or what we wore.
Every summer I have my vacation in peace
and I don't get any wires saying, "Come back.
Picture starting."
I can talk about my girl and no reporter will
write, "He said, 'She is a marvelous girl but
we're just good friends.' "
And after reaching the top of the ladder,
which I intend to do, no fickle public will say,
"We are tired of him," and down I come.
I am satisfied just being a movie fan.
Arthur Cain, Jr., Vidalia, Ga.
THE $10 LETTER
I play quarterback on the high school foot-
ball team. So far this season I have had good
breaks (or maybe it is good interference on the
part of my team mates). Anyhow, I've been
gaining yardage and scoring quite a few touch-
downs. Well, I was beginning to feel real
important. I had the big head.
The other day the coach and a few players
and I saw Richard Arlen in "Touchdown."
When it came to the part where the star
player began to think he was the big "I,"
I could see, out of the corner of my eye, some
of the team staring at me. I knew right away
what they were thinking. From now on I'm
going to play for the team and not for the big
"I." This picture sure opened my eyes.
R. J. Satterlee, Muncie, Ind.
THE $5 LETTER
I'm in my early twenties but have been deaf
for more than eight years and I found no joy in
being alive. One day a friend asked if I had
tried the ear-phones at the neighborhood
theater. I went to see "The Big House," but
did not expect to hear. I doubt if Columbus
when he sighted America could have been so
overcome with joy as I was when, for the first
time in years, I heard a human voice. I sat
through three performances and my ears ached
badly, but the next night I went back again.
\ow my ears do not ache, and I've seen every
movie I could, good or bad I've not cared.
That I can hear people talk is joy enough.
Louis S. Papp, Cleveland, Ohio
A NEW INTELLIGENCE QUOTA
After a lapse of fourteen years I have re-
sumed teaching in the public schools. The
intelligence level of school children has ad-
vanced so much in that period that it is
amazing. There is no such thing as a totally
dull and listless child any more. I am con-
vinced the change is due to the educational
value of the motion pictures. In almost every
Joan Crawford's face is to the
camera, Clark Gable is in profile
in this still from "Possessed,"
and lots of people didn't like that.
It wasn't because they object to
looking at Joan, they just want to
see more of Gable. But all liked
the film itself
LETTERS come from the four cor-
ners of the earth. China, South
Africa, South America, Hawaii, Brit-
ish Columbia, Australia and England.
A big battle is raging. All of a sud-
den there are just two kinds of people
in the world, the pro-Bennetts and
the anti-Bennetts. First name is
Connie, of course. And. while this
goes on, the smoke from the Garbo
trenches is reduced to a few mild
puffs. You'llfinda story about Connie
in another part of this magazine.
The Academy of Motion Picture
Arts and Sciences was roundly cheered
for giving Marie Dressier the award
for best acting. There has never been
one brickbat hurled at "Queen
Marie." And that's a record.
Sorrow over the untimely death of
Robert Williams and congratulations
to Richard Dix for getting married at
last. And, believe me, you readers
know stories when you see them, for
the pet pictures are: "The Champ."
"Frankenstein," " Arrowsmith,"
"Possessed," "Are These Our Chil-
dren?" "Platinum Blonde," "Over
the Hill." "Palmy Days" and "The
Cuban Love Song." Photoplay
doesn't want to dislocate its arm
patting itself on the back, but we did
recommend every one of these films.
Jimmie Dunn is still a favorite as
is. of course, Clark Gable, and every-
body is waiting for Garbo's "Mata
Hari." It is reviewed in this issue.
When the audience speaks the stars and pro-
ducers listen. We ofler three prizes for the
best letters of the month — $25, $10 and $5.
Literary ability doesn't count. But candid
opinions and constructive suggestions do.
Write up to 200 words, no more. We must
reserve the right to cut letters to suit space
limitations, and no letters can be returned.
Address The Editor, PHOTOPLAY, 221 West
57th Street, New York City.
piece of literature we study I find that a pre-
conceived idea of the period has been accu-
rately formed by some picture.
Grace H. Kehr, Decatur, Ga.
COLLEGIATE OPINION
After many hours spent in poring over the
monotonous details of chemistry or economics,
what a joy it is to abandon all studies and
hurry off to the movies. Here at Wellesley, we
have found this form of entertainment the
ideal college recreation. It keeps us in touch
with the outside world and relieves our minds
for a few hours from the tension of study. It
fits in nicely with our limited time schedules
and limited pocketbooks as well.
Mary Crowley, Wellesley, Mass.
"POSSESSED"
I saw Joan Crawford and Clark Gable in
" Possessed." It was swell. I always did say
Joan was the best actress on the screen, but in
this picture she was superb. The same goes for
Clark Gable. What the movies need are more
actresses like Crawford, more actors like Gable
and more stories like "Possessed."
M Irion Baxno, Dallas, Texas
A few months ago Photoplay nicknamed
him "What-A-Man Gable," but now my girl
friends and I call him "What- A- Neck Gable."
The reason? Because in "Possessed," prac-
tically all we saw of our favorite actor was the
back of his handsome head and neck ! The way
they let Joan Crawford (or told her to) "back
up" on that boy and take all the full faces and
the close-ups was flagrant scene stealing.
But we just go for Clark twice as hard. Now
we know that in addition to high-powered sex-
appeal he has "back appeal plus."
Roberta Jean Robbins, Chicago, 111.
Even though Joan Crawford got all the
breaks in "Possessed"' and Clark Gable's part
wasn't as big, he "did himself proud" in the
opinion of this family of seven. As Photo-
play's review said, "If Joan hadn't been so
good in her role, Clark would have had the
whole picture." We hear Clark is to play
opposite Marion Davies in "Polly of the
Circus." This time we hope they give him a
chance to look at the camera more often, and
us audiences a better chance to look at him.
We like his type.
The Braxxigax Family, Kansas City, Mo.
NUMBER PLEASE?
Telephone companies report a big demand
for French telephones as soon as they were
used in the movies. The movies set new stand-
ards for dress, house furnishing, hair dress,
voice, manners and conduct.
Ilva Graeff, Cleveland, Ohio
[ please turn to page 10 ]
Photoplay Magazine for February, 1932
^7 dnerit Clcheii.
Maivis...,
Gl
amorous
Dag
over:
H
er
beauty exotic as a tropic night . . .
Her personality— fascinating . . .
Her artistry. u ih-(| i ia I L <l . . .The
flame of her genius blazed a trail
ot triumph thru the capitals of
lliurope . . . Now she is destined to
intrigue America with her allure,
her subtlety, her tremendous
power of emotional expression . . .
Her fyremlere in The woman
from Monte Carlo" is an event
not to be missed. . . w^atch for it.
•
Screen play and dialogue by Harvey Tnew
Directed by MICHAEL CURTIZ
Qjll CsOerlin • Dagover is the foremost actress of their stage and screen
CJn C/aris • Dagover is idolized by famous modistes for her
style and beauty.
CJn ^Vienna • Dagoverisa vivid figure in the entertain-
ments of the nobility.
CJn Xjtollyieooa • Dagover set the cinema capital
aflame -with the brilliance of
her artistry.
A FIRST NATIONAL
SrVITAPHONE PICTURE
tL woman
jrom*
MONTE CARLO
tvilli
WALTER HUSTON
WARREN WILLIAM
JOHN WRAY ♦ ROBERT WARWICK
GEO. E. STONE
Consult this pic-
ture shopping
guide and save
your time, money
and disposition
Jjrief Jxeviews of
Current Pictures
^ Indicates plioloplay teas named as one of the best upon its month of review
AGE FOR LOVE, THE— Caddo— Billie Dove is
good but the old familiar story doesn't click. (Oct.)
• ALEXANDER HAMILTON — Warners.- -
George Arliss, need we say more? Another
superb characterization of an historic figure. (Aug.)
ALIAS THE BAD MAN— Tiffany Prod.— You
probably won't like this even if you're a Western fan.
Ken Maynard is okay — but you simply don't believe
that story. (Sept.)
AMBASSADOR BILL— Fox— Will Rogers, a
mythical kingdom and a lot of laughs. (Dec.)
• AMERICAN TRAGEDY. AN— Paramount.—
Dreiser's great tragedy becomes one of the
month's best pictures. Phillips Holmes and Sylvia
Sidney head a glorious cast. Not for the children,
(.lug.)
• ARE THESE OUR CHILDREN?— Radio
Pictures. — Inside, and pretty serious stuff on
what goes on in some high schools. Neither parents
nor children should miss it. (Dec.)
ARIZONA — Columbia.— (Reviewed under title
"Men Are Like That"). Laura La Plante and John
Wayne find life and love at an army post. (Oct.)
• AROUND THE WORLD IN EIGHTY
MINUTES— United Artists.— Douglas Fair-
banks in the funniest, trickiest, peppiest travelogue
you've seen. A novelty you must not miss. (Jan.)
• ARROWSMITH — United Artists.— Neither
author Sinclair Lewis nor you will find fault
with this. The story of a doctor, beautifully done by-
Ronald Colman and Helen Hayes. A great picture.
(Jan.)
• BAD COMPANY— RKO-Pathe.— A gang
picture that's different, with Helen Twelve-
trees and Ricardo Cortez doing some fine acting.
(Nov.)
• BAD GIRL — Fox. — You'll laugh and cry over
this, made from the novel of the same name.
Sally Filers is all the girls who live next door.
That new kid, James Dunn, bears watching. Don't
miss this one. (Sept.)
BELOVED BACHELOR, THE— Paramount.—
Complications between a sculptor, his ward and his
sweetheart. Paul Lukas and Dorothy Jordan are the
heartthrobs — Charlie Ruggles screamingly funny.
(Dec.)
BLACK CAMEL, THE— Fox.— Here's your old
pal Charlie Chan (sure, it's only Warner Oland) un-
raveling the mystery of a movie star's murder in
Honolulu. Great stuff for the mystery-minded and
other folks, too. (Sept.)
• BLONDE CRAZY— Warners.— Reviewed un-
der the title "Larceny Lane." James Cagney
and Joan Blondell in another "crook picture" that's
top-notch entertainment. (Oct.)
• BOUGHT— Warners.— Connie Bennett and
her father, Richard, rip off a real picture.
Elegant acting, clothes you'll be ca-razy for, and a
vivid, human story. Ben Lyon does the best work
of his career. (Sept.)
BRANDED — Columbia. — Good scenery, good
riding, good ol' Buck Jones. But let's have less talk
and more action in Westerns. (Oct.)
BRAT, THE— Fox— Remember Sally O'Neil?
What a comeback the kid stages in this old Maude
Fulton comedy-drama. And what a rough and
tumble fight she and Virginia Cherrill havel (Sept.)
• BUSINESS AND PLEASURE— Fox.— Will
Rogers is a riot. (Oct.)
CAPTIVATION — Capital Prod. — Ho-hum. a
wife-in-name-only situation, a stouter Conway Tearle
and a leading woman who almost out-Dietriehs
Garbo. Made in England. (Dec.)
8
CAUGHT— Paramount. — The plot is pretty silly.
Boy (Dick Arlen) finds mother (Louise Dresser) is
outlaw lie was sent out to get — but Louise is worth
the admission. (Sept.)
CAUGHT PLASTERED— Radio Pictures— (Re-
viewed under the title "Full of Notions.")— If you
like Wheeler and Woolsey. don't let this get by you,
for it's one of their best comedies to date. (Sept.)
• CHAMP, THE — M-G-M. — You'll laugh,
you'll cry. you'll thrill at this superb picture
with those two great artists, Jackie Cooper and
Wallace Beery. Don't miss this one. (Dec.)
CHEAT, THE — Paramount.— In which Tallulah
Bankhead does her acting stuff in an old-fashioned
story'- (Jan.)
• CISCO KID, THE— Fox.— Warner Baxter
makes the girls' hearts beat double time in this
thriller. The plot isn't new but the treatment is. (Xov.)
You get the real in-
side news in
PHOTOPLAY
You get it first. You
get accurate news.
You can rely upon
PHOTOPLAY'S reviews.
It is way out in front
in the vast field of
imitators.
COMMON LAW, THE— RKO-Pathe.— A poor
adaptation of an old favorite but Constance Bennett
is worth seeing. Sophisticated fare, (.-lug.)
COMPROMISED— First National.— ( Reviewed
under the title "We Tliree".) Just uh-huh on this
one. It neither bores nor thrills. About a million-
aire. (.Vor.)
CONFESSIONS OF A CO-ED— Paramount —
Not a very convincing piece with Sylvia Sidney,
Phillips Holmes and Norman Foster. CoHege
atmosphere. (A ug.)
• CONSOLATION MARRIAGE— Radio Pic-
tures.— Don't miss this truly sophisticated 1931
movie, with Irene Dunne and Pat "Front Page"
O'Brien. (Xov.)
CONVICTED— Supreme Features.— A murder
mystery at sea and a good one, with Aileen Pringle
and Harry Myers. (Dec.)
CORSAIR — United Artists.— Familiar gangster
activities transferred to a marine setting, without im-
provement. Chester Morris. (Jan.)
• CUBAN LOVE SONG, THE— M-G-M —
Lawrence Tibbett's voice. Lupe Velez' love-
making and Jimmy Durante's darn foolishness in a
lusty story of marines in Cuba. Great stuff. (Dec.)
DANGEROUS AFFAIR, A— Columbia.— A fast-
moving and surprise-filled "shrieker" with Jack Holt
and Ralph Graves. (Nov.)
DAUGHTER OF THE DRAGON— Paramount.
— Sessue Hayakawa and Anna May Wong in an
Oriental mystery. Recommended if you like your
murders sinister. (Oct.)
DEADLINE, THE— Columbia.— A Western with
a really good plot. Better than the average horse
opera. Buck Jones. (Jan.)
DER GROSSE TENOR— UFA— A slow moving.
all-German talkie with Emil Jannings in a typical
Jannings role. A song or two. (Aug.)
• DEVOTION— RKO-Pathe.— Perfect cast, ex-
cellent direction and sparkling dialogue make
this moth-eaten plot a picture you must not miss.
Ann Harding. (Nov.)
DREYFUS CASE, THE— Columbia— An accu-
rate account of the famous Dreyfus-Emile Zola
rumpus, made in England with a fine British cast.
(-Vw.)
EAST OF BORNEO— Universal.— The title tells
the story. Real Borneo scenery, excellent studio
"fakes." Charles Bickford and Rose Hobart make
it interesting enough. (Sept.)
ENEMIES OF THE LAW— Regal Prod.— Unless
you want to see Lou Tellegen's brand new face-lift,
you can check this off your list. Not even Mary
Nolan's beauty compensates for that old formula
877 — a gangster story. (Sept.)
EX-BAD BOY— Universal.— If you like gag-
farce, you'll get a kick out of this. Robert Armstrong
and Jean Arthur give fine comedy acting. (Aug.)
EXPENSIVE WOMEN— Warners.— A pretty un-
happy return to the screen for Dolores Costello. The
less said about it the better. (Aug.)
EXPRESS 13— UFA.— A thrilling German-
dialogue film that makes you wish you'd paid more
attention to your German teacher. (Oct.)
FALSE MADONNA, THE— Paramount.— This
doesn't make you laugh but it hits your heart. Kay
Francis is good but a new boy, John Breedcn. steals
the show. (Jan.)
FANNY FOLEY HERSELF— Radio Pictures.—
Edna May Oliver's first starring film. You'll laugh
and — what's more — you'll cry. In Technicolor. See
it. (Oct.)
FIFTY FATHOMS DEEP — Columbia.— Why
waste Jack Holt and Dick Cromwell on that same old
plot? Oh sure, they are deep sea divers in love with
one girl. (Nov.)
FIGHTING SHERIFF, THE — Columbia. —
Recommended for dyed-in-the-wool Western fans.
Others will find it just average film fare. Buck
Jones is the hero. (Sept.)
FIRST AID — Sono Art. — In which a lot of people
— Grant Withers. Marjorie Beebe and Wheeler Oak-
man — do a lot of unconvincing things unconvinc-
ingly. (Sept.)
FIVE AND TEN— M-G-M.— Marion Davies
with a splendid cast. Adapted from the Fannie
Hurst story — jerky in spots, (.-lug.)
• FIVE STAR FINAL— First National.— Rush
to the nearest theater. You mustn't miss
this exciting story of tabloid newspaper sensa-
tionalism. Eddie Robinson is superb. (Sept.)
[ PLEASE TURN TO PAGE 14 ]
Photoplay Magazine for February, 1932
DANCE
TEAM
with
JAMES DUNK
SALLY EILERS
All dressed up and going places where
Broadway lights are brightest. From dance
hall hoofers to society's favorite nightclub,
the stars of "Bad Girl" glide to fame in
each other's arms. ..stepping to the rhythm
of love in the season's smartest romance.
£
W ■ 1 9 fll
1
R#X »iPj^pl
vrarbo, (jable, Joan, IVlarlene, Ivuth
"Frankenstein" — ooh, what thrills and chills ! But the picture broke box-
office records and all the people who wrote letters this month said they
were crazy about it. It will give you the creeps in the theater, but evi-
dently folks like a good scare
[ CONTINUED FROM PAGE 6 ]
AVIATION TAUGHT
I am a first lieutenant in the U. S. Army
Aviation Corps and I am called upon to talk
and demonstrate to my pupils. Well, it seems
as if I become suddenly tongue-tied. It is
difficult to stand upon a platform and explain
certain things about aviation.
Then I hit upon the plan of showing the
students aviation pictures that illustrate my
topic.
These pictures help me to stress certain
points that I, alone, would never be able to
teach satisfactorily;
First Lieut. G. F. Werner, Somerset, Ky.
"ARROWSMrTH" DID IT
For months I had been undecided whether to
become a nurse or not. Seeing "Arrowsmith"
decided the question for me. When I am
graduated from high school next June I'm
going in training. That is my idea of a com-
plete picture.
Lenore Oebl, San Bernardino, Calif.
ABSENT MINDED ACTRESSES
What is the trouble with the actresses in
Hollywood? Can't they find suitable husbands
for themselves? We were so shocked to hear
that young Constance Hennett married Henri
Marquis de la Falaise de la Coudray. Just as
if there aren't any more good looking fellows in
Hollywood beside Henri Marquis. We movie
fans don't see any reason why Connie married
Henri Marquis when she loved Joel McCrea
much better.
10
Besides, Joel McCrea is so much better than
Henri Marquis.
The Hollywood actresses are certainly going
absent minded when it comes to choosing
their husbands.
Frances Nash, Herkimer, N. Y.
HIGHER MATHEMATICS
I invested forty cents in four cheaper movie
magazines, thereby saving sixty cents above
the price of four Photoplays. I attended six
shows at their recommendation — the total cost
being S2.80 — and was terribly disappointed in
three of them. Later, in looking over a friend's
Photoplays for the same months, I found had I
first consulted your reviews I would have at-
tended only the three I enjoyed, and at the
expense of only SI. 15. This month I return to
Photoplay. I was "penny wise and pound
foolish."
Margaret L. Kirk, San Diego, Calif.
FIGHT IT OUT, FOLKS
I'm for the new stars. Give the young
actors a chance and the public a change. We
do not care to see the same hero for ten years or
the same heroine for fifteen. I saw Dix, Fair-
banks, Gilbert, Lloyd and many others when I
first started going to movies. I still see them.
Why all the comebacks? Certainly the stars
don't improve with age. Hollywood seems to
be fading.
Mary Cobl"mxs, Ft. Madison, Iowa
And still they come! Not a month passes
but what more and more new faces greet us.
May I register a protest not only for the fans,
who resent having their old favorites ignored,
but also for the "new finds" themselves? There
are so many of them that only a small per-
centage can make good. It seems so cruel to
give them a sip of fame in one picture and then
snatch the cup away. We fans are not so
forgetful as we are said to be. We would stick
to our old favorites if the producers would let
us, but they keep cramming newcomers down
our throats.
M. K. Clement, San Francisco, Calif.
D. A. R. SPEAKS UP
The picture "Alexander Hamilton" was
sponsored in our city by the Daughters of the
American Revolution, and we felt proud to
have been in any way connected with the show-
ing of such a superb characterization as George
Arliss gave in "Alexander Hamilton." We felt
we each had seen our Revolutionary ancestors.
Give us more such pictures, so wholesome and
entertaining for old and young alike.
Elizabeth Godcharles Bigler,
Clearfield, Penna.
YOU'RE RIGHT, ROSE
I'm short, plain looking, with a large mouth
and hair that is so straight it is hard to keep
waved.
Therefore, it is a consolation to read that
Greta Garbo has her hair waved about ten
times a day to keep it right; that Janet Gaynor
is only five feet tall and that a large mouth like
Joan Crawford's can be lovely.
Rose Takexchi, Los Angeles, Calif.
BIG CONNIE CONTROVERSY
Constance Bennett is my idea of the perfect
snob. She plays the part and looks the part and
seems to despise the ground other people walk on.
Laxgdox C. Horxe, Danville, Va.
Constance Bennett is worth every cent of her
salary. If she ever stops making pictures I'll
never go to another show. I'm sick of reading
so much about Clark Gable and Greta Garbo.
They are both fine but give me my Connie.
Catherixe MacGuree, York, Penna.
I don't like Constance Bennett to act a
drunken part as she did in " Bought." She is a
nice, clean, sweet girl and should not be taught
such bad habits. Why not let Connie and
Clark Gable steal some of the Gaynor-Farrell
stuff for just one picture, and listen to the fans
howl with joy. Connie has the same innocent
look that Janet has, and Clark has Farrell
skinned a mile in winning ways.
Lilliax Crowell, Kansas City, Mo.
Why are we supposed to go into ecstasies
over Constance Bennett? She is so weak and
wan that she is no longer able to put any feeling
in her lines.
And her camera always goes to great lengths
to keep her feet from showing.
Mrs. C. E. Dixkle, Grunville, Texas
"PLATINUM BLONDE"
Why they called "Platinum Blonde" that, is
still a mystery to me. Jean Harlow was non-
existent as far as our crowd was concerned.
We certainly enjoyed the late Robert Williams.
Haven't had such an enjoyable movie evening
all winter, lots of clean comedy, a- laugh a
minute and a corking good story.
Mae V. Coxxelly, Trenton, X. J
WHAT HO, GABLE FANS!
David Manners is far more handsome and
a better actor than Clark Gable. David's
oome JLike iLm and jome Don't
acting is far more sincere. I never notice Clark
being sincere.
Gilbert Settles, St. Louis, Mo.
ANOTHER SECOND RUDY
Why can't some director see that Ricardo
Cortez is all that Rudy Valentino ever was, and
I was a great Valentino admirer.
Lillian M. Hansen, La Crosse, Wis.
NOW YOU'VE STARTED IT
I have seen Charles Farrell and Janet
Gaynor in all their pictures together, but I
have never been able to agree with the rest of
the world that they are a good team. In my
opinion Charles is too tall for little Janet. I
think Madge Evans is much better suited to
him.
Clara L. Bartels, New Braunfels, Texas
OUR CHILDREN
A friend of mine told me about her son who
was coming home every night with liquor on
bis breath. I told her not to worry, that he
would come out all right. The next day I saw
'Are These Our Children?" and I grew
ilarmed, so I planned a theater party for a
,'roup of young folks, including my friend's son,
ind, after a buffet supper, gave them tickets to
' Are These Our Children? " He liked the show
md has been a different boy since that night,
las broken his bad company dates and is
icting like a real little gentleman.
Mrs. Al Hill, Kansas City, Mo.
COME ON, SAY ALL!
We hear over our radios and read in the daily
rolumns that wedding bells are about to ring
or this star and that star; that a star was dis-
nissed from a hospital and another entered a
;anitarium, etc., etc. Now I read my Photo-
>lay the day it arrives and I find that most (I
wouldn't say all) of the "sensational scoops"
hat the columnists and radio bamboozlers
;coop up as up-to-the-minute news, are found
n your monthly magazine, Photoplay.
Ray Wilkinson, Lubbock, Texas
WORLD OPINION
Clark Gable is new and original but as for his
)eing another Valentino, the idea is ridiculous.
iVe all prefer that the latter should remain a
;reat memory.
Jean Miller, Surrey, England.
Will someone please ask Charles Farrell to
:ake up voice culture?
Julia Boase,
St. Catharine's, Ontario, Canada
When the talkies first came here people said,
'We prefer silent pictures." But now every-
body goes to the talkies and enjoys them.
Kate Grill, Tsingtas, China
You American fans don't realize how lucky
mu are to see the newest releases instead of
waiting ages and ages for them as we do here.
kVe have not yet seen or heard Greta Garbo,
^orma Shearer, Joan Crawford or Robert
Montgomery. Just imagine that! Now, don't
<-ou think you're well off?
Leila S. Anderson,
Cape Town, South Africa
Maybe the Americans like this glamour busi-
ness we hear so much about. I don't. If a
;irl's only claim to individuality lies in gazing
hrough her eyelashes and drooping a cigarette
rom the corner of her mouth, she'd get no-
"Arrowsmith" turned the tide of one girl's life. When she saw this grand
picture of sacrifice for humanity she decided to become a nurse. Other
folks loved it because it was real. Bouquets were tossed at the feet of
Ronald Colman and Helen Hayes
where with me if I were a man. I like girls who
are snappy. Glamour, appeal, mystery,
charm? No, sir — give me zip!
Buntee D'Alton, Argentina, S. A.
So many bigstars have been visiting our shores
that we have a Hollywood colony at the beach
at Waikiki. Because they are so free from
affectation they give us an inspiring impression
that they, too, were struggling souls like us
before they made the grade. Their simple
laughter and love of life thrill us with the fact
that they are human beings after all.
Alma Au, Honolulu, Hawaii
I am not a great admirer of Garbo, Dietrich,
Crawford and the others of that type but would
not miss one of their pictures, because they
certainly wear beautiful gowns and usually
have nice surroundings sooner or later in their
pictures. It does appeal to a woman to plan a
dress or a home, even if she never gets the
money to buy them.
Barbara Ponder, Vancouver, B. C.
I have been waiting to see and hear Con-
stance Bennett because so many magazines
have referred to her cosmopolitan and cultured
voice. I have now seen her latest film and
think her a sincere artist and a very lovely
woman, but her voice, although quite at-
tractive, does not, to English ears, sound par-
ticularly cultured. Her speech is less broad
than that of some film stars, but still definitely
American. But what does it matter? She is a
gorgeous creature.
Violet Clemence, Sussex, England
Recently in a well-known Sydney newspaper
there appeared a whole paragraph concerning
the engagement of Clara Bow to Hoot Gibson.
It also said she was spending her vacation at
Hoot's ranch. All I can say is that thank good-
ness we have a fine magazine like Photoplay
to give us the real news.
Miss R. Gigg, Sydney, Australia
SERVES THE AUTHOR
The movies are a godsend to the young
author. If I'm writing a story with a negro
background I see a picture like "Hallelujah."
If my story is about newspaper life, films like
"Five Star Final" and "The Front Page" are
just the material I need.
Valuable tips on etiquette and highly tech-
nical information can also be gained from the
movies.
I use motion pictures along with encyclo-
paedias and other reference books.
Albert Charles Dewert, Cincinnati, Ohio
DEPRESSION CURE
My beauty shop was barely paying expenses.
I could not understand why, because I have a
busy location and working girls for customers.
A boy induced me to subscribe for Photoplay
and with the first issue I began my thanks, for
it opened up new ways to improve my business.
Each month I tack up pages of the latest styles
upon my walls. I also study my customers and
compare them with actresses they most
resemble so I may advise them what hairdress
is most becoming to their individual type.
They certainly respond to this method. Then
there are the pages of beauty hints which I
study and repeat. And last, but not least, is
conversational matter. I find that Photoplay
[ PLEASE TURN TO PAGE 12 ]
11
What the Audience Thinks
[ CONTINUED FROM PAGE 11
What a tragedy that Robert Williams, who died because he wouldn't have an
operation soon enough, couldn't hear all the praise his work in "Platinum
Blonde" received. The fans liked Bobby better than Jean Harlow
topics interest everyone and give rise to lively
conversations.
Grace Seabrooks, Youngstown, Ohio
GENEROUS PRAISE
I am one of three hundred boys confined at
the Maryland Training School. Although we
do not have an up-to-date projection machine
we do see talkies. And they have all given us a
feeling of contentment even though we are
under a court sentence. If we have more
pictures during the coming year as we have
had in the past, we will feel more like doing
our work and doing it not merely because we
are forced.
Paul Fletcher, Loch Raven, Md.
IVAN FROM RUSSIA
Why all the fuss over Clark Gable when we
have Ivan Lebedeff to rave about? He not
only has the more intriguing personality but he
is much the better actor. And personally I
prefer a handsome actor. Ivan also has the
most delightful and thrilling voice that I have
ever heard.
Gladys Conrad, Indianapolis, Ind.
AND WAS IT YOU, JACK?
I have been trying to impress on a girl friend
of mine that it is not right to kiss all the boys
that she goes with, but she seemed to think
that the kissing means not a thing. But I took
her to a show the other day and it was about a
girl who thought the way my friend had been
thinking. In the end the heroine was let down
by all the boys whom she had been stringing
along.
My girl friend said that she believed I was
risht. and from now on she would only kiss the
boy she liked the best.
Jack Lawrence, Brownwood, Texas
DRUNKARD OR PIONEER
I want to express my distaste of the decision
of the Academy of Motion Picture Arts and
Sciences in selecting the best actor's perform-
ance for 1931. The splendid and flawless por-
1?
trayal of Vancy Cravat by Richard Dix in
" Cimarron" is, in my opinion, far superior to
the prize-winning characterization of a drunk-
ard by Lionel Barrymore in "A Free Soul."
Aside from the artistic viewpoint, I should
think the Academy would consider the ethical
viewpoint.
Does the Academy consider the portrayal
of a drunkard more edifying for future genera-
tions than that of a pioneer?
M. Sheridan, East Elmhurst, Long Island
STRONG FEATURES WANTED
In the palmy days of the theater the greatest
stars were those with strong features and not
soft contours. Who would call Sarah Bern-
hardt beautiful, or Booth handsome? I believe
that when the screen passes the he and she doll
era, more talent will arrive and fewer flops be
recorded.
Frank A. Duxx, Pasadena, Calif.
MOVIES TAUGHT HER
A teacher friend and I grew up together and
had exactly the same amount of education.
Recently we were called upon to furnish a
living-room, and for this seven prizes were
awarded. I received first prize and she took
second from the last. She never attended a
motion picture because we were both taught
they were full of evil influences. Regardless of
this, I attended anyhow and I feel that at the
movies is where I learned what I know about
furnishings.
Claire M. Bolthocse, Grand Rapids, Mich.
EDDIE THINKS SO TOO
Gangster films have ceased to be interesting,
but not Eddie Robinson. With the warmth he
shows in his work he will scale the height?.
Here's to Eddie, the greatest character actor of
them all.
Ray A. Hippard, Chicago, 111.
RANDOM THOUGHTS
Gloria Swanson is not the actress she was in
silent pictures. I don't mean she has lost her
acting ability, but the pictures do not do her
justice.
Loris Carr, Lawrence, Mass.
Last night we went to see "Touchdown." It
has amply repaid us for the many terrible
talkies we have sat through lately. It was de-
lightful, full of humor and convincing.
M. Q. Lott, Baton Rouge, La.
I had my first party dress made from one
which I saw on Fay W'ray.
Velma BENELisnA, Bridgeport, Conn.
Why do the fans throw more brickbats than
bouquets? I would like to see one of them act
half as good as any actress or actor on the
screen.
Doris Goodfriexd, Buffalo, X. Y.
I consider Richard Dix one of the best actors
on the screen. He not only holds your interest
but has looks and talent.
Sallye Blantjing, Sumter, S. C
If "The Champ" with Wally Beery and
Jackie Cooper does not go down on the list as
one of the year's best, then I am a poor guesser
of good pictures.
C. J. Williams, St. Louis, Mo.
Why is Ruth Chatterton so popular? In
"Once a Lady" her make-up was terrible.
Albert E. Little, Baltimore, Md.
A PLEA FOR MADGE
This is not another gushing epistle with
floral tributes for Greta Garbo and Clark
Gable, the current "passionate moments." but
just a plea to give our new. yet not new, star,
Madge Evans a great big hand.
Without the usual fanfare of publicity a
new star is coming into the firmament. She is
like a fresh breeze, blowing where ultra-so-
phistication and so-called glamour have flour-
ished. And what a relief!
Louise Nance, Mt. Pleasant, Tenn.
THE NEW WOMAN
The movies have done more toward the
emancipation of woman than any other in-
fluence. It has been the beacon which lighted
her way to freedom, independence, knowledge
and power. In fact, it has taught her to know
herself.
Fabiola Wiltz, New Iberia, La.
BLONDE BABIES
What's it all about? Are all the movie
heroines getting the blonde craze? I'm not
knocking the natural blondes (which are suffi-
cient without the rest) as there should be a
variety. Are the brunettes sinking into ob-
livion? If they are out of style, no doubt you
will soon see people staggering out of the
theaters, because they will be light-headed
from viewing the relentless line of blondes.
Lucille Chevraux, Canton, Ohio.
ALL RIGHT. IF YOU ARE
At the end of a motion picture I never feel
that I've been either cheated or demoralized.
If I should go out and kill somebody after see-
ing a gangster picture then there was some-
thing intrinsically wrong with me to start
with.
Patrick Brady, Jr., Kimball, S. D.
Photoplay Magazine for February, 1932 I -?
THE MOST DANGEROUS SPY OF ALL TIME,
men worshipped her like a goddess, only to be
betrayed by a kiss!
For her exotic love men sold their souls, be
trayed their country, gave up their lives! Here
is one of the truly great dramas that has
come out of the war — based on the incred-
ible adventures of Mata Hari — called the
most dangerous woman who ever lived.
Who but the supreme Greta Garbo
could bring to the screen this strange,
exciting personality! Who but
Ramon Novarro could play so well
the part of the lover who is willing
to sell his honor for a kiss! See these
two great stars in a picture you will
with
LIONEL
BARRYMORE
and
LEWIS STONE
Directed by
George FITZMAURICE
$wm
A METRO-GOLDW YN-MAY ER PICTURE
Brief Reviews of Current Pictures
( CONTINUED FROM PAGE 8
• FLYING HIGH— M-G-M.— Comedy with
snappy music used in just the right places.
Good dancing, good singing. Bert Lahr and Char-
lotte Greenwood. (Jan.)
• FORBIDDEN ADVENTURE— (Also re-
leased as Newly Rich) — Paramount. — An
entertaining picture for kids and grown-ups. Jackie
Searl and Mitzi Green in some swell acting. Don't
miss it. (Aug.)
• FRANKENSTEIN — Universal. — Not for
faint-hearted folks. This is strong horror stuff
which leaves you breathless. But what does that
matter? See it. Boris Karloff out-terrors Lon
Chaney. (.Jan.)
FREIGHTERS OF DESTINY— RKO-Pathe.—
Cowboy songs and good comedy put the ginger in
this Western with Tom Keane and Barbara Kent.
(Jan.)
FRIENDS AND LOVERS— Radio Pictures.—
Adolphe Menjou, Eric Von Stroheim and Lily
Damita get tangled up in an involved yarn that tries
to be too sophisticated. (Oct.)
GAY BUCKAROO— Allied Prod.— Hoot Gibson
does his best, Roy D'Arcy his worst and Merna Ken-
nedy her sweetest in this formula Western. (Jan.)
GAY DIPLOMAT, THE— Radio Pictures.— Ivan
Lebedeff intrigues the ladies (Betty Compson and
Genevieve Tobin) in this story of Balkan intrigue.
(Oct.)
• GIRL HABIT, THE — Paramount.— An up-
roarious farce that boosts Charles Ruggles to
stardom. It's all laughs. See it I (Aug.)
• GIRLS ABOUT TOWN— Paramount.— The
old gold digger story all dressed up in new
clothes. Kay Francis and Lilyan Tashman wear the
clothes and speak those smart lines. (Dec.)
GOLDIE— Fox.— If you like lusty, gusty stuff,
this'll do. Spencer Tracy and Warren Hymer make
a new comedy team. (Aug.)
GOOD SPORT— Fox. — Whistle the story— it's
that old and that familiar. But it has good dialogue
and Linda Watkins. (Jan.)
GRAFT— Universal. — A fast action thriller. Regis
Toomey is a dumbbell reporter and Sue Carol is
heart interest. (Oct.)
GREAT LOVER, THE — M-G-M. — Adolphe
Menjou breaks hearts. Irene Dunne breaks into
song. Both do good jobs. (Sept.)
GRIEF STREET— Chesterfield.— A wobbly mys-
tery story with pretty Barbara Kent and John
Holland. Save your time. (Dec.)
• GUARDSMAN, THE — M-G-M. — Alfred
Lunt and Lynn Fontanne. You'll be ca-razy
about them in this sophisticated comedy. See it,
but don't take the kids. (Oct.)
GUILTY GENERATION, THE— Columbia-
No machine guns but plenty of action in this beer feud
drama. Leo Carrillo stars. (Jan.)
GUILTY HANDS— M-G-M.— That Lionel Barry-
more — how he can actl You know he is the murderer,
but will they discover his guilt? You'd better find
out. (Sept.)
HARD HOMBRE, THE— Allied.— For kids and
grown-ups. A novel Western with Hoot Gibson and
Lina Basquette. (Ocl.)
HEARTBREAK— Fox.— This has a war back-
ground but it's really a sweet love story. Madge
Evans (what an actrcssl) takes honors from Charlie
Farrell, a good actor, too. (Dec.)
HEAVEN ON EARTH— Universal.— Recom-
mended only for Lew Ayres fans. (Nov.)
• HELL DIVERS— M-G-M.— Wallace Beery,
Clark Gable and the United States Naval Air
Forces turn out a picture of peacetime aviation you
won't forget. (Jan.)
HER MAJESTY LOVE— First National.— Mar-
ilyn Miller, as a beautiful barmaid, tosses off songs
between every glass of beer. This is light, but pleas-
antly entertaining. (Jan.)
HIS WOMAN— Paramount. — Gary Cooper and
Claudette Colbert try hard but a baby steals the
picture with its lusty bawling. Claudette plays a
tarnished lady. (Jan.)
HOLY TERROR, A— Fox.— A two-fisted West-
ern with George O'Brien. Good, wholesome enter-
tainment. (Aug.)
HOMICIDE SQUAD — Universal. — Ho-hum,
another gangster picture. (Nov.)
HONEYMOON LANE— Sono Art.— Not a great
picture, but a delightful one. A nice romance be-
tween Eddie Dowling (who sings) and June Collyer.
And that swell comic, Ray Dooley. (Sept.)
HONOR OF THE FAMILY— First National.—
Nothing left of the Balzac story but the title. Bebe
Daniels is a hot-cha-cha adventuress heroine. (Nov.)
HOUSE DIVIDED, A— Universal.— Life in the
raw with Walter Huston as a hard-boiled sea captain
whose wife falls in love with his son. Huston is grand.
(Jan.)
• HUCKLEBERRY FINN — Paramount. —
This sequel to "Tom Sawyer" will cure the
blues. Jackie Coogan and Junior Durkin take you
back to old swimmin' hole days. (Ocl.)
HURRICANE HORSEMEN, THE— Willis Kent
Prod. — A fast moving thriller, with plenty of Spanish
atmosphere. Lane Chandler has the stuff. (Dec.)
HUSH MONEY— Fox.— Another gangster film
and not a very thrilling one. Joan Bennett and
Hardie Albright try hard. (Aug.)
I LIKE YOUR NERVE — First National.—
Douglas Fairbanks, Jr., acts just like his father did
in "The Americano." He does it well, too. The
story is weak. (Sept.)
IMMORTAL VAGABOND, THE— UFA.— A
tedious Tyrolean story without a single yodel. Nice
scenery, good acting, English dialogue. (Oct.)
IN LINE OF DUTY— Monogram Prod.— The
Northwest Mounted Police get their man again. This
time it's Noah Beery. Sue Carol is the girl. (Dec.)
I TAKE THIS WOMAN— Paramount.— A
wheezy old plot dressed up for Gary Cooper and
Carole Lombard. Just another movie. (Aug.)
LASCA OF THE RIO GRANDE— Universal.—
Just another Western — but this one is South of the
Rio Grande. Fair entertainment with Johnny Mack
Brown, Leo Carillo and Dorothy Burgess. (Sept.)
LAST FLIGHT, THE— First National.— Gay
aviators in Paris make the first half grand, but the
somber part is not so good. Richard Barthelmesa'
work is overshadowed by the others in the cast. (Oct.)
LAUGHING SINNERS— M-G-M.— Not so good,
but if you are a Joan Crawford fan you may like it.
Clark Gable and Neil Hamilton, too. (Aug.)
LAWLESS WOMAN, THE— Chesterfield Pic-
tures.— An uninteresting, unimportant film. A
gangster-newspaper plot, poorly done. (Aug.)
LEFTOVER LADIES— Tiffany Prod.— Divorcees
talk a lot about careers and freedom in dreary
dialogue. Claudia Dell, in a brunette wig, is good.
(Dec.)
*LE MILLION— Tobis Production.— It's not
necessary to understand the language to get
all the fun out of this French musical farce. (Aug.)
• LOCAL BOY MAKES GOOD— First Na-
tional.— Joe E. Brown is funnier than he's ever
been, in this story of a college grind with inhibitions
and botanical aspirations. (Dec.)
LOVE STORM, THE— British International.—
Three men and one woman are exiled to a lighthouse.
Even a murder doesn't speed things up. Dreary fare.
(Dec.)
LOVER COME BACK — Columbia.— Betty Bron-
son changing her type with rather sorry results. (Aug.)
MAGNIFICENT LIE, THE— Paramount— Not
up to the standard of most Ruth Chatterton films. But
there's a new young man named Ralph Bellamy
who is particularly good. (Sept.)
MAN IN POSSESSION, THE— M-G-M.—
Robert Montgomery in a spicy comedy full of situa-
tions and sparkling lines. Amusing. (Aug.)
MEN ARE LIKE THAT— Columbia. — (Also
shown under the title of "Arizona".) Laura La Plante
and John Wayne find life and love at an army
post. (Ocl.)
MEN IN HER LIFE— Columbia.— The dialogue
crackles, but the old story creaks. All about a rich
girl in Europe and a rough and ready American. Lois
Moran and Charles Bickford both good. (Jan.)
MEN OF THE SKY— First National.— Yep, it's
an aviation war story — but it's pretty flimsy stuff.
Irene Delroy and Jack Whiting. (Sept.)
• MERELY MARY ANN— Fox— Take your
hankie to this one, but be sure to go. Not
since "7th Heaven" have Charlie Farrell and Janet
Gaynor been so whimsical and idyllic. (Sep!.)
MERRY WIVES OF VIENNA. THE— Super
Film. — Even if you no speak Deutsch, you'll enjoy
this. Rippling waltzes and sparkling gayety make
this foreign film worthwhile. (Sept.)
• MIRACLE WOMAN, THE— Columbia.—
A well staged, directed, and photographed
picture with Barbara Stanwyck doing her best work
as a female evangelist. (Aug.)
[ PLEASE TURN TO PAGE 16 ]
Photoplays Reviewed in the Shadow Stage This Issue
Save this magazine — refer to the criticisms before you pic\ out your evening's entertainment. Ma\e this your reference list.
Page
Almost Married — Fox 97
Anybody's Blonde — Action Pictures. . . 98
Beast of the City, The— M-G-M 51
Ben Hur— M-G-M 98
Big Shot, The— RKO-Pathe 98
Branded Men— Tiffany Prod 98
Cock of the Air— United Artists 50
Deceiver, The — Columbia 98
Delicious — Fox 50
Devil On Deck— Thrill-O-Drama 98
Dr. Jekyll and Mr. Hyde — Paramount. 50
Emma— M-G-M 49
Explorers of the World — Raspin Prod. 98
Page
Forbidden — Columbia 97
Girl of the Rio — Radio Pictures 50
Greeks Had A Word For Them, The—
United Artists 49
Husband's Holiday — Paramount 98
Is There Justice?— Thrill-O-Drama. ... 98
Juvenile Court — Ziedman Prod 50
Ladies of the Big House: — Paramount. . 48
Ladies of the Jury — Radio Pictures ... 49
Law of the Tongs— Willis Kent Prod. . 98
Manhattan Parade — Warners 51
Maker of Men — Columbia 98
Mata Hari— M-G-M 48
Page
Men of Chance — Radio Pictures 97
Pocatello Kid, The— Tiffany Prod 98
Private Lives— M-G-M 48
Rainbow Trail, The — Fox 98
Secret Witness, The— Columbia 97
Sooky — Paramount 50
Struggle, The — United Artists 98
Under Eighteen — Warners 51
Unexpected Father, The — Universal. . . 98
Union Depot — First National 51
Woman Commands, A — RKO-Pathe. . 51
Woman From Monte Carlo, The — First
National 51
u
Photoplay Magazine for February, 1932
WALTER HUSTON in "A HOUSE
DIVIDED," SLIM SUMMERVILLE and
ZASU PITTS in "UNEXPECTED FATHER,"
MAE CLARKE and RICARDO CORTEZ
in "RECKLESS LIVING" and SIDNEY FOX
in "NICE WOMEN" are pictures you
must see. Watch for LEW AYRES and
MAE CLARKE in "IMPATIENT MAIDEN"
UNIVERSA
730 FIFTH AVE
WATCH YOUR THEATRE
for "MURDERS IN THE RUE MORGUE"
which follows close on the heels of
"DRACULA" and "FRANKENSTEIN"
and is fully as gruesome and
intense. It is an amazing story
by that grimmest of all writers,
Edgar Allan Poe, whose "Raven'
has become immortal.
And what greater cast could you
ask than BELA LUGOSI (Dracula him-
self) as "Dr. Mirakle," SIDNEY FOX as
"Camille," LEON ADAMS as"Dupin,"
BRANDON HURST as "Prefect of
Police/' NOBLE JOHNSON as "Jan os,
The Black One."
I shook and shuddered when I
saw this picture and so will you.
It is another UNIVERSAL Masterpiece
Write me your opinion of UNIVERSAL Pictures
you have seen and mention this magazine.
L PICTURES
-NEW YORK CITY
i6
Photoplay Magazine for February, 1932
modern girls
make money
in A r . . . .
As fashion illustrators, interior deco-
rators, fabric designers, show card
writers, modern girls are making
good money in art. Manufacturers
of wall paper, furniture, draperies,
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base their success today on color
and design. Girls trained in art are
needed. Fine incomes are possible.
Through the Federal School of
Illustrating you can learn the principles
of modern design at home. More
than fifty famous artists contribute
exclusive lessons to the Federal Course
in illustrating, cartooning, lettering,
designing, etc. Many Federal students
are now earning from $2500 to
$6000 a year — others even more.
Test Your Talent Free
Our Free Art Test finds out your
talent. From it our artists will judge
your drawing ability. Send today
for this Test Chart and our Free Book,
A Road To Bigger Things."
FEDERAL SCHOOL
OF ILLUSTRATING
S102 Federal Schools Bldg., Minneapolis, Minn.
pederal School of Illustrating
2102 Federal Schools Building
Minneapolis, Minn.
Please send me free book,
"A Road To Bigger Things," and
Standard Art Test.
Occupation-
Address-
Brief Reviews of Current Pictures
I CONTINUED FROM PACE 14 ]
MONKEY BUSINESS — Paramount. — Messrs.
Marx, Marx. Marx & Marx in another outbreak of
assorted lunacy. No beginning, no end — just gor-
geous nonsense. (Ocl.)
MORALS FOR WOMEN— Tiffany Prod.— This
"it's the woman who pays" yarn takes a couple of new
routes and brings back trouper Bessie Love. (.Jan)
MOTHER AND SON — Monogram Prod. —
Another Reno story, with Clara Kimball Young as
Faro Lil. (Oct.)
MURDER AT MIDNIGHT— Tiffany Prod.—
Yep, it's a mystery story and a swell one I Alice
White, in a small part, has a sex-appeal voice. (Oct.)
MURDER BY THE CLOCK— Paramount —
With such a cast, headed by Lilyan Tashman, this
should have been swell. But alasl and alack! this
gruesome, murder story is nothing but gruesome.
(Sept.)
MY SIN— Paramount.— Tallulah Bankhead and
Fredric March in one of those "should a woman tell
her past?" things. (Nov.)
MYSTERY OF LIFE, THE— Classic— Clarence
Darrow and a Smith College zoology professor ex-
plain evolution. Uh-huh, it's as dull as it sounds.
(Sept.)
MYSTERY TRAIN, THE— Darmour Prod.— Old
school mystery melodrama with plenty of sure-fire
hokum and suspense. (Nov.)
NECK AND NECK— Thrill-O-Drama.— Only
Stepin Fetchit's funny face and voice save this dull
race-track story from a complete case of the dol-
drums. (Jan.)
• NEW ADVENTURES OF GET-RICH-
QUICK WALLINGFORD, THE— M-G-M.—
And they said William Haines was slipping! See this
knock-out comedy with Billy and the coming big
shot, Jimmy Durante to be convinced they're
wrong. (Nov.)
NEWLY RICH— See FORBIDDEN ADVEN-
TURE.
NIGHT ANGEL, THE— Paramount.— A bad
display for the talents of Nancy Carroll and Fredric
March. (A ug.)
• NIGHT NURSE— Warners.— Drag out your
pet adjectives, go see this and use 'em. It's
great. Barbara Stanwyck, Ben Lyon and a grand
cast. (Aug.)
NIGHT RAID (UN SOIR DE RAFLE)— Osso
Prod. — A lively French film about a prize-fighter, his
real sweetheart and a siren. Amusing. (Dec.)
OLD SONG, THE (Das Alte Lied)— Austrian
Cinderella. Lil Dagover brightens it considerably.
German dialogue. (Nov.)
ONCE A LADY — Paramount. — Charming sim-
plicity and Ruth Chatterton's acting redeem a not too
original story. (Dec.)
ONE WAY TRAIL, THE— Columbia.— The Kids
will love these exciting adventures of handsome Tim
McCoy. (Dec.)
OPERA BALL — Greenbaum-Emelka Prod. —
English lines flashed on the screen make it possible
for you to enjoy this sprightly German production of
Viennese night life. (Jan.)
• OVER THE HILL— Fox.— Mae Marsh's
screen return as the self-sacrificing mother un-
wanted by her children. Jimmie Dunn and Sally
Eilers, too. (Jan.)
PAGAN LADY— Columbia.— The SadieThompscn
theme in a new dress, with Evelyn Brent wearing it
becomingly. (Nov.)
• PALMY DAYS— United Artists.— A typical
Eddie Cantor-and-nonsense show that should
bring film musicals back. (Oct.)
PARDON US— Hal Roach— M-G-M— Laurel and
Hardy in a lot of hokum. Funny. (Oct.)
PARISIAN, THE— Capital Prod.— This attempt
at a smart story made in England with Adolphe
Menjou and Elissa Landi proves that these glamour
kids get that way in Hollywood. (Nov.)
PEACH O'RENO—RadioPictures.— Bert Wheeler
and Robert Woolsey in an absurd plot concoction of
Reno's divorce colony. Short on romance but long on
laughs, i Jan.)
PENROD AND SAM— First National.— If you
haven't forgotten how it feels to be a kid you'll love
Leon Janney and Junior Coghlan in this. (Nov.)
PERSONAL MAID— Paramount.— Nancy Car-
roll gets all mixed up in a namby-pamby plot. (Nov.)
• PLATINUM BLONDE— Columbia.— Youth
and beauty, comedy and drama — and Ji-an
Harlow. A well done newspaper yarn. See it. (Dec.)
• POLITICS — M-G-M. — Polly Moran and
Marie Dressier start you off with a giggle and
you'll laugh all the way through the picture. Don't
miss these two attempting to clean up the town.
(Sept.)
• POSSESSED— M-G-M.— What a pair Joan
Crawford and Clark Gable make in a picture
that lias plenty of action, sophistication, and gorgeoui
clothes. (Jan.)
PRIVATE SCANDAL, A — Headline Prod.—
Another underworld story in which the crook re-
forms. (Oct.)
PUBLIC DEFENDER, THE— Radio Picture*
— After "Cimarron" you expect too much of Richard
Dix. That's why this story of a man who brings a
gang of crooks to justice is disappointing. (Sept.)
RACING YOUTH— Universal— If you aren't too
critical, you'll enjoy this story of automobile road |
racing with Frank Albertson, June Clyde and Louise
Fazenda. (Jan.)
RANGE FEUD, THE— Columbia.— Buck Jones
may be your favorite Western star but you'll twiddle
your thumbs at this banal old story. (Dec.)
RANGE LAW— Tiffany Prod.— This Western
taxes the credulity but Ken Maynard does some slick
riding. (Jan.)
REBOUND— RKO-Pathe.— Not in the big amuse-
ment class but worth seeing. Ina Claire and Robert
Ames. (Aug.)
RECKLESS HOUR, THE— First National.— An
old story with a few new twists. Dorothy Mackaill
and a good cast. Just fair. (A us.)
RECKLESS LIVING— Universal.— An entertain-
ing little picture. (Nov.)
RICH MAN'S FOLLY— Paramount.— One of
those stark dramas in which George Bancroft as an
ambitious shipbuilder wrings sympathy out of an un-
sympathetic role. (Jan.)
RIDERS OF THE PURPLE SAGE— Fox— A
grand Western with fast action, grand Arizona
scenery and marvelous production. George O'Brien
and Marguerite Churchill excellent. (Dec.)
ROAD TO RENO, THE— Paramount.— Divorce,
murder, suicide and an important cast fail to make
thisanythingbutapicturethat just doesn't jell. (Nov.)
ROAD TO SINGAPORE, THE— Warners.— Bill
Powell and Doris Kenyon — splendid in a tropical
drama of tangled loves and desires. (Oct.)
SAFE IN HELL— First National.— The only re-
deeming thing about this sordid story of a shady lady
is the work of Dorothv Mackaill, who deserves better
stuff. (Jan.)
SALVATION NELL— Tiffany-Cruze.— Religion
and sentiment are pretty obvious in this out-of-date
story, but Helen Chandler and Ralph Graves make
you believe every word of it. (Sept.)
SEA GHOST, THE— Imperial Prod.— Laura La
Plante wasted on this cheap, ridiculous story. (Not.)
• SECRET CALL, THE— Paramount.— Peggy
Shannon, who pinch-hits for Clara Bow in
this one. scores a solid hit. It's a political story with
love interest. Dick Arlen excellent. (Sept.)
• SECRETS OF A SECRETARY— Paramount.
— The actors make this worth the price.
Claudette Colbert is fine and that Herbert Marsliall,
from the stage, is one of those men vou don't forget.
(Sept.)
SECRET SERVICE— Radio Pictures.— Adven-
tures of a Northern spy behind the Confederate lines.
Richard Dix tries too hard. (Dec.)
SHANGHAIED LOVE— Columbia.— Mutiny and
gory evil-doings at sea. Too much dialogue. Not
enough action. (Nov.)
SHERLOCK HOLMES* FATAL HOUR —
Warners-First Division. — British-made mystery film,
rather long-drawn-out but not lacking in interest.
Sherlock Holmes and Watson solve another murder
mystery. (Sept.)
SHIPS OF HATE— Trem Carr.— Murder and
grueaomeneae on shipboard. Just fair. Don't pass
up a game of bridge for it. (I ug.)
SHOULD A DOCTOR TELL?— Regal Prod-
Dreary talk about dreary ethics. Who cares? (.Yew.)
SIDE SHOW— Warners.— Winnie Lightner add
Charles Butterworth try hard, but the un-funny
lines are distressing. A circus story. (Sept.)
Photoplay Magazine for February,
SIDEWALKS OF NEW YORK— M-G-M — A
laugh a moment and just the right number of
moments with "dead pan" Buster Keaton, Cliff
Edwards and Anita Page. (Oct.)
SILENCE — Paramount. — Sure-fire melodrama
with a punch. Clive Brook, Marjorie Rambeau and
Peggy Shannon. (Oct.)
• SIN OF MADELON CLAUDET, THE—
M-G-M. — One of the greatest mother stories
ever filmed, with Helen (stage) Hayes pulling at your
heart-strings. Don't miss it. (Dec.)
SKIN GAME, THE— British International.—
Pretty tedious. An excellent English cast, however.
(Sept.)
SKYLINE — Fox. — Thomas Meighan builds sky-
scrapers and saves Hardie Albright from vamp
Myrna Loy. Good entertainment. (Oct.)
SMART WOMAN— Radio Pictures.— What a
performance Mary Astor gives and in what beautiful
clothes I A charming, sophisticated yarn of the
"Holiday" school. (Oct.)
SOB SISTER— Fox.— You'll like this fast news-
paper yarn and Linda Watkins. Jimmie Dunn is
grand, too. (Nov.)
THIRTY DAYS— Patrician.— A wealthy tc
ment owner plays the regeneration scene in j
Betty Compson and Maureen O'Sullivan make it
tertaining. (Jan.)
THIRTEEN MEN AND A GIRL— UFA -
dreary tragedy. Foreign made, English dialog!
(Oct.)
THIS MODERN AGE— M-G-M.— Joan Ci
ford lovely and dripping box-office appeal i
ridiculous story. (Nov.)
THREE LOVES— Terra.— Marlene Dietrich
the only reason for seeing this three-year-old C
man silent. (Aug.)
THREE WHO LOVED— Radio Pictures.—
cellent acting by Betty Compson and Conrad N;
in a production that suffers from too much st<
(Aug.)
TIP OFF, THE— RKO-Pathe.— Fresh guy Ec
Quillan gets mixed up with gangsters and a sprigl
comedy is the result. (Jan.)
• TONIGHT OR NEVER— United Artist!
A Gloria Swanson vehicle that sizzles and bi
with snappy love scenes. And there's a new
appeal lad named Melvyn.Douglas. For the soph
cated. (Jan.)
SON OF INDIA— M-G-M.— A fairy-tale sort of
thing with Ramon Novarro as Prince Charming.
If you like Oriental romance, this is ill (Aug.)
SPECKLED BAND, THE— First Division.—
Sherlock Holmes is at it again, finding sinister East
Indian death methods used in an English country
house. (Jan.)
SPIDER, THE — Fox. — Thrills and shivers over a
murder in a theater. Eddie Lowe is grand and
suspense is geared on high. (Oct.)
• SPIRIT OF NOTRE DAME, THE— Uni-
versal.— Knute Rockne lives again in this
powerful football story with Lew Ayres and the real
Notre Dame team. (Dec.)
SPORTING BLOOD— M-G-M.— The biography
of a race horse. Not interested? All right, then,
Clark Gable has a featured role. That should get
you. It's a good movie. (Sept.)
SPORTING CHANCE, THE— Peerless Prod.—
The famous young jockey throws the race, but is re-
deemed by the love of the stable owner's daughter.
(Jan.)
• SQUAW MAN, THE— M-G-M.— A new
version of a grand old story. See it by all
means. Warner Baxter and Lupe Velez. (Aug.)
• STAR WITNESS, THE— First National.—
At lastl An entirely new plot with suspense,
humor, heartache. Walter Huston, Chic Sale and
Frances Starr are in it. Worth your time. (Sept.)
• STREET SCENE— United Artists.— Thirty-
four excellent actors and super-direction by
King Vidor make this one of the great pictures of
the year. A vivid cross-section of life you'll never
forget. (Oct.)
• STRICTLY DISHONORABLE— Universal.
You'll love this story of the grand opera singer
captured by the innocent little girl from Mississippi.
Paul Lukas, Lewis Stone and Sidney Fox all great.
(Dec.)
STUDENT'S SONG OF HEIDELBERG, A
EIn Burschenlied Aus Heidelberg)— UFA. — Rol-
icking tunes, students and Heidelberg campus stuff.
Even if you don't know German you'll enjoy it. (Nov.)
SUICIDE FLEET— RKO-Pathe.— The war on a
wit and wisecracking basis with Bob Armstrong,
Jimmy Gleason and Bill Boyd as the familiar Three
Musketeers — this time in the Navy. (Jan.)
SUNDOWN TRAIL— RKO-Pathe.-
helps a poor Western. (Oct.)
-Good acting
SURRENDER— Fox.— Warner Baxter and Leila
Hyams just work their fingers to the bone trying to
make you believe this story about a French officer im-
prisoned in a baron's castle. (Jan.)
• SUSAN LENOX, HER FALL AND RISE
— M-G-M-. — Romance spread thick, passion
strong. You Garbo-maniacs will eat it up. Clark
Gable plays opposite. Don't miss it. (Sept.)
SWEEPSTAKES— RKO-Pathe.— Some romance,
thrills and fast lines in a race-track yarn. Quillan
and Gleason take honors. (Aug.)
TAXI — Warners. — The Iowdown on the taxi-cab
racket, with James Cagney and Loretta Young.
Well-done. (Jan.)
TERROR BY NIGHT— Famous Attractions.—
Bet you can't guess before the last reel who did the
murder. A good mystery with comical Una Merkel
and ZaSu Pitts. (Dec.)
• TOUCHDOWN — Paramount. — A foot
picture that's different — with inside stuff
crooked methods used. Dick Arlen and Jack Oa
(Jan.)
• TRANSATLANTIC — Fox. — Edmund L
and Greta Nissen plus an exciting melodram
plot, make this one of those hit pictures you mus.
fail to see. (Sept.)
TRANSGRESSION— Radio Pictures.— These;
old angle of the eternal triangle. Kay Francis we
swell clothes. (A ug.)
TWO-GUN MAN, THE— Tiffany— A Wester
old swashbuckling style, nothing new but good em
tainment. Ken Maynard and horsel (Aug.)
• 24 HOURS — Paramount. — It's not only g-.
but different. Kay Francis and Clive Br
are grand. (Nov.)
UNHOLY GARDEN, THE— United Artists
Far-fetched melodrama and romance in a San,
castle, with Ronald Colman working hard to &
the impossible story. (Oct.)
VIKING, THE— Varick Frissell Production.-
picture of the boat that met Arctic tragedy. Gf,
photography. (Aug.)
• WATERLOO BRIDGE — Universal. —
morbid, yes, but it's intelligent and hor
screen fare. A war background, but don't let t
stop you. You'll like Mae Clarke. (Sept.)
WAY BACK HOME— Radio Pictures.— If
follow Seth Parker on the radio, you'll enjoy seei?
well as hearing him. He uses all his radio stuff. (1
WEST OF BROADWAY— M-G-M.— John
bert's voice is low — so is the entertainment valij
the picture. Jack is a war veteran with six mo
to live. (Oct.)
WHITE DEVIL, THE— UFA.— Russians it
fur hats are doing serious.things again. You nee'
bother. (Nov.)
WICKED — Fox. — Elissa Landi and V
McLaglen are good in a too heavy drama ah
bank robber and his wife who go to jail. (Oct.)
WILD HORSE— Allied.— Hoot Gibson cap;
wild horse, a bank bandit, a murderer ar
audience's approval, all in one handsome g
(Sept.)
WOMEN GO ON FOREVER— Tiffany-Ci
Your old friend Clara Kimball Young makes
comeback in this story of racketeers and illi<
A lively film with plenty of comedy relief. \
WOMEN LOVE ONCE— Paramount.—
ers wasted their time and that of Eleanor B<
and Paul Lukas on this one. (Aug.)
WOMEN MEN MARRY — Headline
Don't take this picture too seriously and
not find it too dull. Sally Blane is nice an?
Moorhead wears startling clothes. (Sept.)
WORKING GIRLS— Paramount.— Tw
fu! country blondes learn about life in the
not even Paul Lukas and Buddy Rogers can
story and dialogue seem real. (Jan.)
X MARKS THE SPOT— Tiffany Prod;
gangster-newspaper story inspired by the I
Pretty poor, except for a terrific climax.
YELLOW TICKET, THE— Fox.— Rb
the revolution. The heroine fights for her
stuff made worthwhile by Elissa Landi
Barrymore. (Jan.)
roPLAY Maoazim: ior February, 1932
rse Wgo
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The Certain Remedy j or Halitosis
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issue
Eugene Robert Richee
ALTHOUGH this picture shows her as the sloe-eyed glamour
girl, Marlene Dietrich was actually caught laughing recently.
Von Sternberg wasn't around and Maurice Chevalier was telling
her a joke. In this issue of Photoplay there's a splendid story
about her director's influence over her
Hal Pliyfe
WHEN Sally Eilers went blonde, Hoot Gibson was mad as a
producer with a flop. But Sally is too busy to placate a mere
husband. Anyhow, Hoot forgave her because of her success in
"Bad Girl" and "Over the Hill." Her latest is "Dance Team," and
everybody wonders why she wasn't rediscovered before
Tom Collins Studios
GENE MARKEY, ex-boy friend of Gloria Swanson and Ina
Claire, is the chap who has won the heart of Joan Bennett,
and town gossips say those old wedding bells will be jangling soon.
In the meantime the younger Bennett, having licked the hospital
(fractured hip) jinx, is working on "She Wanted a Millionaire"
T) ILLIE DOVE and Howard Hughes have kissed and made up,
*-* which is the reason for the big smile. But what we can't figure
out is how any lad in his right mind can quarrel with a girl who
looks like this. One of Hollywood's most scrumptious beauties, all
she needs is a series of good pictures
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qA tfyot of oApproval at
£arl Qarroll's HJanities!
"Around midnight is when I like
them best!" . . . "Soothing to my
throat!" . . . "Makes my next ciga-
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"Amazingly refreshing !" ... "I
like them after eating!" . . . "Just
crazy about them!" . . . "The
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est purse!" . . . "So delicious!"
Such were some of the answers we
received in a minor riot at Earl
Carroll's Vanities when we asked
how they liked the delicious candy
with the Hole . . . Life Savers. All
flavors came in for their share of
approval . . . IVp-O-niint, V i-O-let.
Wint-O-green, Cl-O-ve, Lic-O-rice
and Cinn-O-mon, as well as the
Fruit Drops, Orange, Lime, Grape,
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AGATHA
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MARTHA
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BErry
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JULIA
WOONEY
LORNA
RADINOEF
FEBRUARY, 1932
Close-Ups and Long-Shots
By
James R. Quirk
NOW then, have you heard the one
about Greta Garbo and the trained
German police dog that was used
in one of her pictures?
The dog made a great hit with Greta and
by the end of the picture the police dog was
following her around as though she had
been feeding him sirloin steak four times a
day.
" That dog, he is magnificent," she said to the owner.
"How much do you want for him?"
"He is a champion and insured for $25,000," was
the reply.
"Oh, very well," said Greta as she turned away.
"Call me up when he has pups."
EVEN censors can sometimes be right. The boss
film faultfinders of Ohio and New York are pro-
testing the use of dialogue with double meaning which,
they say, appears to have taken the place of risque
situations in the silent pictures.
WHICH reminds me of a conversation I once
heard between a producer and a director. In
justice to the men in the business today I must say the
two of whom I speak are no longer in it.
They were discussing the dearth of story value in a
popular and expensive novel that they had just
purchased.
"Let's put in some big sets," said the director.
"That will put it over."
"Even that won't do it," replied the producer. "The
story is too weak. Can't you suggest something to
put some life and action into it?"
"Well, for one thing," said his resourceful employee,
'we might change the wife to a mistress. The public
isn't interested in good women."
THE censors are right when they com-
plain that some pretty fast ones have
been put over lately. That they constitute
a small proportion of the film product does
not mitigate the offensiveness. Ninety-five
per cent of the biggest box-office attractions
ever made are utterly devoid of highly in-
flammable sex material. And I maintain
and assert that the questionable dialogue
and situations in the sexy pictures of today are due to
the utter inability of studio writers and directors to
create clean dialogue or situations that would be
equally entertaining.
If you and you resent dirt on the screen, note care-
fully that most of it is done under the glare of star
names, and then remember the names of the stars.
Two of these stars have been quoted during the past
month to the effect that they know the public won't
stand for it long, and promise to refuse to continue it.
I am not preaching. I am just getting disgusted.
EDGAR WALLACE, the famous English author of
scores of mystery thrillers, reported for work in a
Hollywood studio on Friday and turned in a com-
pleted story the following Monday.
"If you don't like that one," he said casually as he
passed it across the producer's desk, " I'll have another
for you by tomorrow."
The producer is recovering in a private sanitarium,
but his physicians say he will never be the same.
EUREKA! I have, after all these years, found out
why I was such a dumbbell in history and Latin
and why, when the boys at the club get a few aboard
and start singing college songs, I must sit alone in the
corner without a fraternity pin to cover my collegiate
nakedness.
25
The Historical Association of England lias dis-
covered, after years of scientific research and solemn
meditation, thai whatever the movies have done to
insinuate improper ideas into the youthful mind, is, in
a measure, compensated for by the fact that in the
study of history and Latin the screen stimulates
mental effort, titillates the imagination, brightens the
memory, and improves the expression of ideas in
writing.
The one statement in the report that I am sure most
of my dear old teachers would have disapproved of is,
that pictures lead children to actually enjoy history
and they make Latin more interesting.
SAMUEL GOLDWYN complained bitterly to the
press recently against "thoughtless and facetious"
criticism of Hollywood. Incidentally, and not
thoughtlessly nor facetiously, but quite naively, lie
put over in his interview a mighty plug for his latest
picture, "Arrowsmith," and tells what a nice boy is
Author Sinclair Lewis compared to Author Theodore
Dreiser, who gave the picture producers his"American
Tragedy" and a kick in the pants for their hundred
thousand dollars.
He bemoans the state of affairs in American journal-
ism when it gives reams of space to Dreiser's song of
hate and ignores completely Lewis' pean of praise.
Mr. Goldwyn, who is a master press-agent as well as
a master producer, forgets that one of the most caustic
and facetious critics who ever threw a poisoned javelin
at the screen has been his very own Mr. Lewis.
HE might also recall that Mr. Lewis' sweet words
exalting Hollywood and Mr. Goldwyn 's screen
adaptation of his brainchild appeared in the form of a
paid advertisement for the picture when it opened in
New York.
These scalawags of city editors are quite prone to
overlook authors' statements as news when they
appear as advertisements.
Regardless of that, however, Mr. Goldwyn is en-
titled to credit, and lots of it. Famous authors have
snarled and clawed at him for years. He has qualified
for membership in the Lion Tamers' Club by his com-
plete subjugation of one of the most powerful and
ferocious denizens of the literary jungle.
NOW that that is out of my system I want to
thank Mr. Goldwyn for making such a superb
picture out of that superb novel, "Arrowsmith." He
is one producer who has never been guilty of the high
crime of bad taste in any of his pictures.
AND Sam, while we are on the subject of the atti-
t ude of the press toward Hollywood, perhaps you
neglected to read the erudite page of the New York
Tinas of the day before your squawk about authors
and newspapers appeared in the same paper.
Speaking of the alleged baneful effect of our motion
pictures on American prestige abroad, the Times says:
"To the peoples of Europe who have been visiting
us and writing books about us for a great many
years Hollywood is only a restatement of what they
have always believed. . . . Fifty years ago English-
men believed that all American conversation con-
sisted of 'I swan' and 'I guess' and 'I reckon.' Mr.
Chesterton still devoutly believes that to be the
case. Today Englishmen suppose all Americans
say ' Awkay, chief,' as in the movies. The ultimate
responsibility, we very much fear, would attach to
Christopher Columbus for discovering a new world
which, after 439 years, remains strikingly new."
THE New York Daily News queried a number of
girls on this question: "Which would you rather
have — a husband and babies or Greta Garbo's fame
and fortune?"
Everyone of them said they want a husband and
babies.
Write your own comment on that symposium of
honest maidenly opinions.
THE heads of several of the Hollywood studios are
reported to have exchanged relatives so that at
the end of the year they can tell bankers and stock-
holders, "There isn't a relative on our payroll."
DON MARQUIS is a former New York newspaper
columnist. He knows nothing about the Spanish
language, and comparatively little about Spain. He
was selected to write the dialogue for "Marcheta," a
film story of Spain.
Robert Presnell is at the same studio. He speaks
Spanish like a native: has been in Spain, and is
familiar with the customs of the people. He has never
been on a New York newspaper. He is writing the
script of a movie about a New York newspaper
columnist.
AT a recent gathering of Hollywood wits and nit-
wits, they fell to devising a symbol for Holly-
wood.
Out of it all came this:
Diana, wearing a Eugenie hat, being pursued by
Harpo Marx, wearing a celluloid collar.
SAM, old friend, why become annoyed with us carp-
ing fellows who wax facetious about Hollywood.
Go right on making fine pictures and be consoled with
the words of that wise old chap who said, "Critics are
like brushers of noblemen's clothes."
26
NOISE continues to be the boogy man of the
sound stages. The director, cameramen and all
their assistants are wearing rubber-soled shoes. One
resourceful studio is now using carpet that is designed
to photograph like a hardwood floor.
Drawing by Chamberlain
"We've got to economize. The studio
is cutting me to $20,000 a week"
The IVlan 1 li
at
iaM
arried
By
E u I a I i a
Wilson
The author, a celebrated figure of inter-
national social sets, says Gloria will need all
her intelligence, versatility and cleverness to
keep her new husband interested and happy
THREE ex-husbands in Hollywood must have studied
Gloria's fourth choice with interest. Francis Michael
Farmer is his right name. Only since 1925 have we
called him Michael. Always before that it was Francis.
Gloria's untiring efforts to build up her career, during which
time she has discarded one husband after another, leads one
to believe her screen career, her colossal success means much
more to her than marriage and love can possibly mean and
makes one wonder why she has so quickly married the fourth
time.
Apparently she was in love with the Marquis and, having
acquired him, she left him to his own pursuits — golfing, riding,
amusing himself as best he might — while she threw herself
into her work, and the result was another divorce.
Born in Chicago in 1898, so I have been told, Gloria is older
than her new husband by several years. Unquestionably she
has reached the very highest pinnacle of success as a star of
magnitude in the movies. She is exceptionally gifted, she has
the brain of the so called "big business man," extraordinary
executive ability, and she has shown intelligence, force of
character and masterful skill in overcoming a few failures.
When she was, to all appearances, on the wane as a popular
favorite of the screen she used her well-balanced head to bring
success out of chaos, to recapture her popularity in the talkies
and was triumphant in her efforts as a singer of appealing
songs, a hitherto untried effort on her part.
Through her tenacity, a will of iron, great physical strength,
courage and indefatigable ambition she has won her way to
the very topmost in fame and fortune.
A very great artist, but she belongs to the picture industry
alone.
She is a dominating personality. The effect she has on the
Hollywood film colony, producers, executives, stage hands,
fellow players — everyone — is impossible to describe. She is a
law unto herself and she knows well how to wield her power.
Of course, surrounded by every luxury, every possible assist-
ance is given her to carry on and suc-
cessfully accomplish her ideas in pro-
ducing pictures.
Every aid is used in projecting her
personality, skill and beauty on the
screen. Some there are who claim she
is not a beauty, but there is a wide
divergence between the beauty an
actress actually possesses and that
which the screen brings to light. But
that Gloria Swanson has every requi-
28
a
Gloria, soon to b
mother, is facing a life
crisis that means either
happiness or disaster
site necessary for her to be a dynamic force in the world of
pictures is without question.
She has made the most amazing strides in building up her
career from slapstick, pie slinging, utterly ludicrous bathing-
beauty Mack Sennett pictures to elegant sophistication, with
intelligence, coquetry, passion. But this is all acting and
acting is her life. Her heart is wrapped up in her work, her
career is her success.
Perhaps her reason for failure in the great adventure of
Matrimony — and unquestionably she is a failure in the light of
three divorces — is a reason given by a great artist who painted
her and who summed her up thus:
"Behind her glamorous personality there is a great sadness,
a discontent, a hunger. There is no evidence of peace or
serenity but an aching want of something, destined to be for-
ever unsatisfied. She possesses an old soul, alone she fights,
lives and exists within herself, always alone — she has willed it
to be so.
"She hungers for love, for companionship, for the comfort of
fellowship, for abandon, to get out of herself; but the die is
cast apparently; she cannot do it or she has not done it up to
GLORIA SWAXSOX is proud, as she is ambitious, and she
views the advancing years with apprehension. If she is
wise she will embrace this new romance, throw herself into it
whole-heartedly, make her life over and wring out of the years
to come all the happiness, even,' joy she has denied herself
or been denied, and cast her career aside.
She has been given a golden opportunity, indeed few women
have had such, to triumph once more in a new and different
way, in an arena peopled with a vastly different audience.
And with her wealth, her gifts, her dynamic force — if she is in
love really and at last awakened — she can weave into this new
romance all the thrilling tales she has ever dreamed of com-
plete happiness. Her new position as the wife of Michael
Farmer, if she is accepted by his
circle of friends, will demand great
versatility.
It will embrace every waking mo-
ment and leave few hours for sleep and
repose, for the life of the great conti-
nental set Mr. Farmer travels with
seldom think of sleep.
Whether St. Moritz, Biarritz, Rivi-
era, Venice, Como. Lido, Le Touquet.
Cannes, Juan-les-Pins, Eden Rock or
Antibes — it is a foregone conclusion that
Michael Farmer will be there with the
! smartest crowd wherever it happens to be
the season.
Ascot in the royal enclosure to view the
races, Dublin for the horse show, London
for the polo and smart tennis gatherings,
yachting at Cowes, fast motors and yachts
on the Mediterranean, riding to hounds in
the shires of England and in the forests of
France, guest of the wealthy chateau owners
of France for shooting parties, skiing, skating
and Cresta at St. Moritz: all these come
under the active sports this handsome young
Irishman has been enjoying year after year,
accompanying parties of the most
sophisticated, highly placed nobility
of England, of France and Italy and
the social registrites of America
fortunate to be numbered as friends
of the most exclusive set on the
Continent.
IN Paris, as well as in London,
Michael Farmer attends the most
elegant "parties," held in the most
magnificent homes in Paris or at
nearby Neuilly. Homes with great
garden loggias, lovely lakes. Under
the trees, it is quite likely, we will
find a Venetian fete being staged,
with the guests in Longhi cos-
tumes, marques and dominoes; the
audience part of the spectacle, cos-
tumed in masterpieces of the great
couturiers of Paris, some of the dancers do-
ing the most clever interpretations of Si-
amese and other difficult dances, all gowned
exquisitely.
One finds the names of the guests listed
in the Almanac de Gotha, the most beautiful
women as well as the most clever in all
Europe. In no other city in the world do
the spoiled society beauties go to such
lengths to display their talents and gifts and
at such terrific expense for just one evening,
one great party, as in Paris.
Michael Farmer has been in the set of the
<Hon. Mrs. Reginald Fellowes (sister of the
Due Decazes, niece of Princess Edmond de
Polignas, widow of a Prince, wife of the
brother of an English Earl), the Princess
Faucigny-Lucinge, Marquis Strozzi, Lady
Mountbatten, Lord and Lady Ratendone,
son of the Viceroy of India, Lord Michel-
ham, Duchesse de Gramont, Lady Juliet
Duff, Lady Castelrosse, beauties all of them,
famous for wit, culture and accomplishment.
Such is the group Gloria Swanson's husband
has been surrounded by for the past ten
years.
DURING the six weeks of spring, the" Paris
season " is the most amazingly interesting
of any place in the world today. The smart
world then display their talents in magnifi-
cent fetes, balls which go down in history
for their marvelous taste and success. The
great beauties of society give their time to
producing what is called an "entree." For
example, an amusing "entree" arranged by
the Comte Etienne de Beaumont at a ball
held annually at their beautiful home was
one called "Faust." All the male characters
were played by women and the feminine
characters by men.
There was a Madame Butterfly "entree,"
;with the Vicomte and Vicomtesse de No-
alles, Prince and Princess Jean-Louis de
Faucigny-Lucinge and Charles de Beistegui.
Also an Orphee "entree," with the beautiful
•Marquise de [ please turn to page 109 ]
Gloria and Michael, sailing from San
Francisco to New York, en route to
France, tried to elude reporters and
photographers, but unsuccessfully
29
I to"
J
Lazarnick
'"V7"0U can do it yourself! You c
■*■ you've got to stir up your lazy
can if you will! But
bones and your lazy
mind. I haven't time to waste on lazy people," says Sylvia.
On the opposite page she tells you, among other things, how
to lose fifteen pounds in one month!
,"0
A
ny
Wo
man
c
an
B
Don't fail to read
this amazing article
by Hollywood's fore-
most authority. It's
entirely different
from any beauty
story ever written
OF the hundreds of thousands of you young women who
read Photoplay Magazine, I know perfectly well I am
talking to only one out of ten. The other nine might
just as well skip these pages of Photoplay. My
articles won't do you any good and they may hurt your feelings.
The other nine of you may want to be beautiful but you are
too lazy. I haven't any time to waste on lazy people.
I say any woman can be beautiful and I mean it. You can't
all have lovely features, but you can be beautiful. Whoever
said beauty is only skin deep was a fool. Beauty begins be-
hind your forehead and the beauty of some of the loveliest
women I know can never be registered by a motion picture
camera.
Now here's the amazing part of it. You can make yourself
beautiful. You can — if you have the nerve and the courage —
do it all yourself.
In Hollywood I am paid upwards of $25 for a half hour's
treatment. Recently I turned down $1,000 for ten treatments.
Now I am going to give you exactly what I give the stars. I
can and will, if you listen to me and obey me, teach you to do
for yourself what I get paid to do.
When the editor of Photoplay asked me to write a series of
articles to the young women of this country and give them
the benefit of all I had learned from my contact with the
beautiful women of Hollywood, I said I would on one condi-
tion— that I could be absolutely honest and direct.
I told him I thought most of the stuff written about beauty
today was absolute bunk. Polite reiterations, gentle hints,
lovely phrases and nothing more.
AS I said at the beginning, only one woman in ten has
enough stamina to improve herself physically. Only one
woman in ten deserves the chance to be beautiful. But since
helping women to be lovely amounts to almost a mania with
me, I will speak to that one woman in ten. The rest — those
who throw away their chances — I don't care about.
If, when you see yourself improve daily, as you most cer-
tainly can, you say "Sylvia told me how to do this," I will be
fully repaid.
But I've no patience with a lazy girl.
I also told the editor of this magazine that I would not
answer letters. I have received many thousands of letters in
the last few years since magazines and newspapers began to
talk of my achievements with the stars in the Hollywood
Studios. Many did not deserve to be answered. "Dear Sylvia,
won't you please take a chunk of fat off my hips and put it on
my neck?" I am going to tell you how you can do just that,
I really am. So give the time you'd spend writing to me
in following my instructions.
In the advertising pages of this magazine you will find
the answer to the majority of really worthwhile questions
that are asked in letters to beauty editors.
I am going to talk to you fat women and you plump girls
first. And I will guarantee that if you do what I say you will
B
eau
tiful
By Sylvia
lose fifteen pounds from the time you read this magazine until
the next one is in your hands — just one month!
I can hear your alibis. "But, Sylvia, I have gland trouble —
that's why I can't reduce," or "Sylvia, I am fat, I know, but
I ha veanemia and I can't diet because I must keep up my strength."
You can get thin even if you have gland trouble, but you
must stir up your lazy mind — you must want to be beautiful.
Ina Claire said she had anemia and couldn't diet. I gave her
the proper diet (and next month I'm going to treat the anemia
subject specifically) and now she is thin, beautiful and no
longer weak. Her eyes sparkle and she is never tired.
The reason you're fat is because you eat your head off and
don't take exercise. And that goes for men as well as women.
First of all, I am going to give you a general reducing schedule.
In subsequent articles I will tell you about reducing in spots.
Now I am going to give you a general reducing diet. Later I
shall treat diets for various ailments. Later on in this very
article I will discuss thin girls and tell them how to build
themselves up.
FIRST of all, then, the reducing diet.
Liquor is out! Absolutely!
Once a famous star gained instead of reduced under my care.
"I can't understand it, Sylvia," she said to me. "I've done
everything you say. What's the trouble?"
"You've laid off the liquor?" I asked.
"Certainly, I don't drink a thing except sherry with my
meals!"
Good Lord! Sherry with her meals! Why, that was taking
away all the beneficial effects of my treatments. Sherry puts
on weight as does any other kind of alcohol.
So that's the first thing — liquor is out.
Before I forget it, your measurements will tell you more than
your scales. But you need bathroom scales to put the fear of
God in you. You need to weigh every day to make sure
you're doing right.
Now here's your diet:
Breakfast
Small glass (about four ounces) grapefruit or orange juice
Cup of black coffee (no sugar)
Slice of melba toast with a little honey and no butter
Luncheon
(You must have one liquid meal a day. It can be at luncheon
or dinner. I give it here for luncheon)
Glass of tomato juice
Cup of tea or coffee (no cream or sugar)
or
Large bowl of clear soup (no crackers)
In the middle of the afternoon you can have a cup of tea
with lemon and no sugar.
31
A — Correct position for morning exercises for fat
women. Swing the body round and round from
the waist, feet straight in front, arms above head.
You must feel all muscles, from ankle to finger-tips,
move. Among other things, this reduces the waist
B — Another morning exercise for fat women.
Stretch the arms to one side, bring body up and
stretch to the other side, as illustrated here. If
you do this every day you will never have a back-
ache. Be sure to feel the muscles in the back pull
Dinner
Fruit cup
Salad of lettuce and tomato or any other salad except avocado
Salad dressing of mineral oil and lemon juice
Small broiled rare steak
or
Double lamb chop
or
One slice of J^-inch thick roast beef
or
Two slices of turkey or chicken and a wing
or
Two slices of broiled lamb
or
Ground round steak, without fat and use the cheaper meat
where you get the fibres
(Cut off the fat from all the meat and don't use gravy)
Two green vegetables (peas, carrots, broccoli, greens, cauli-
flower, cabbage, etc.)
No bread, instead do this:
Bake a potato. When it is done, scoop out the inside leaving
about J4 inch to the peel. Throw away the inside and put the
rest back in the oven until it is dry. Eat this instead of bread
without salt and no butter. It's delicious.
Gelatin
or
Baked apple without sugar
or
Stewed fruits without sugar.
Use no salt on anything, as there are mineral salts in most
foods.
There! There's your diet.
Now the first thing you'll say is, "She's crazy. I can't live
on that and do my work. I have to keep up my strength. I
can't possibly have one liquid meal a day."
Let me tell you something. I lived on that diet while I was
taking sixteen patients every day. And if you don't think
that's work, try pounding sixteen big men and women and see.
I kept up my strength and felt like a million dollars. So don't
give me alibis.
Why, that diet is grand, and when you've been on it for
awhile you'll refuse those invitations for a highly seasoned,
highly spiced "marvelous dinner." You'll like your own diet
best. I'm going to teach you how to eat sanely.
Never sleep more than eight hours. About six or seven
hours is plenty. I sleep five hours.
MAKE somebody drag your lazy bones out of bed at six
o'clock in the morning.
"But what will I do at six a.m.?" you ask.
Start your exercise. Lift your hands above your head and
slide your whole body gently from side to side, swinging your
hips and moving your spine.
Then move from the waist, describing a circle with your arms.
Note the correct position of the body — feet straight in front
and slightly apart — in pictures A and B that I've posed for you.
Round and round from the waist and then from side to side,
always with arms above the head. Do that and nothing else for
twenty minutes.
Then get your breakfast, read your paper and do all those
jobs you've been putting off for those extra hours of sleep.
You may now- go about your usual work at home or at the
office.
I think for the next thing it would be a great idea to form a
reducing club. Get seven or eight of your plump friends
together for one hour in the afternoon (if you're at home) or
at night before dinner if you're in an office.
C — Evening exercise for fat women. This is the
correct position for beginning the two step I've
described. Step as far as you can and give a
spring at the knees. If done every day this is a
general reducer, particularly good for thighs
Turn the radio to a peppy band, with arms above your head,
hips swaying from side to side, keeping your spine moving,
do an old fashioned two step like this: One two and one two
and one two, etc. Make the first step about as long as I have
shown you in Picture C. This picture is the position and the
beginning of that reducing two step. Bend slightly at the
knees. Draw the back leg into position and take that little
hop. You all know the old fashioned two step. It's step, hop
step. And keep in time with the radio — that's a big help.
But, remember to sway the hips and be sure to feel your
spine in motion. The first few days don't hop too much.
You'll feel like hopping soon enough when the fat begins to
roll away and you feel like a million dollars. Do this for one
hour every day. No, you won't be stiff, not if you take it
easy at first and work into it strenuously later. One hour
every day!
THERE you are, the morning exercise, the night exercise, the
diet, the getting up early, and if you do exactly as I'm say-
ing you'll lose fifteen pounds. I promise that, but you must
do it.
You must be honest with yourself, you mustn't alibi if you
want what every woman should have — beauty! Oh, you can
be so lovely, why would you fail to be for want of just a little
courage?
Now for the thin girls.
Most thin women are nervous. I've had them say to me,
"The thing that relaxes me is a very hot bath. I lie in the
D — The scissors movement. I've given this exer-
cise for thin girls but later it must be used by the
fat ones, too. Note position of hands and body.
The legs are moved back and forth as far apart as
possible. This should be done by thin girls daily
Underwood & Underwood
E — Here's the other exercise for thin girls. The
legs are brought to this position and then straight-
ened out again and again. Also in this position
pretend to be riding a bicycle. It's a wonderful
general builder-up. Fat girls do it later
water for a half hour and run more and more hot water in the tub."
I say, "Well, that's fine, if you want to kill yourself!"
Those hot baths are out — absolutely out! They sap your
precious vitality.
First of all, get ten hours sleep a night and put in as many
hours as possible before midnight. Get to bed three nights a
■week at nine o'clock. You will tell me you can't give up your
little pleasures, that you've worked hard all day and need
them. You can't? Well, when [ please turn to page 99 ]
Why V^onstance
Is Unpopular
In rlollywood
By
Ruth
Biery
I DOUBT if any woman was
ever as thoroughly disliked
by Hollywood as Constance
Bennett!
I doubt if anyone ever thor-
oughly disliked Hollywood as does
Constance Bennett.
I do not mean pictures. Connie
likes her work. I mean she hates
that mythical, fourth-dimension social place made famous by
picture people. She once asked me, "Did you ever know such
a dull town?"
On the other hand, dozens speak of her as, "That conceited,
ungracious, high-hat, snooty, independent, hateful Constance
Bennett!" Not only magazine and newspaper people but
actors, actresses, electricians, extras and all the other com-
ponents of our heterogeneous city.
Now, there are two sides to every question. Matrimony;
politics; prohibition — anything controversial has a pro and con
angle.
So there is Hollywood's and Constance Bennett's!
I am going to attempt to give each impartially and let you
judge. Only I must warn you, as a lawyer warning a jury, Con-
stance Bennett has never lost an argument in her life. Pro-
ducers have learned that! Now, they give her the price she
asks first so they won't have to pay more later.
Even Connie's wedding could not proceed to a smooth, made-
in-heaven conclusion. Everything went well until that crucial
moment when the groom gently places the ring upon the bride's
finger. At this point the Marquis fumbled. The ring wouldn't
Read Hollywood's side and
Miss Bennett's side and
judge for yourself
go on. He tried to push it on her
finger. And at this point Connie's
language was — well, it wasn't the
sort of language you'd expect the
suave, smooth Connie to use.
But the ring at last went on and
the ceremony proceeded.
Came the wedding reception
and Connie didn't like the attitude
of several of her guests. Without more ado she proceeded to
tell them so, which is something I was always led to believe a
blushing bride does not do on her nuptial day.
Hollywood made much of those incidents. Embellished them
thoroughly. "That's Constance Bennett for you. Couldn't
get through her own wedding without having a row!"
Incidentally, Connie is being criticized on another score.
Newspaper photographers and reporters huddled out in the cold
awaiting an opportunity to do their duty: get the news of an
international wedding. She did not invite them inside. They
froze and awaited her pleasure.
It just happens that Connie had notified her publicity de-
partment twenty-four hours in advance. Diana Fitzmaurice,
in whose home the ceremony was performed, had said she could
not haye the photographers and newspaper folk. She didn't
have room. Connie had said they couldn't be accommodated
because her wedding was to be private. One syndicate had
answered that argument: "What! A private wedding for a
public woman like Constance Bennett!"
Now, Connie doesn't consider herself a public woman. She
thinks of herself as a person rather than a personage and claims
Constance knew the news
cameraman was taking this
picture, but she was so inter-
ested in the polo game she
didn't give a hoot that the
camera caught a few wrinkles
in her forehead
84
Henri is really a
fine chap and there
is one thing sure
about his marriage
to Miss Bennett.
He'll never have a
dull moment
she is entitled to certain personal rights exactly as any woman.
She had arranged for the publicity department to send out a
photographer and one writer who would impartially distribute
pictures and information. If the newspapers wouldn't take
those (incidentally the publicity department slipped and failed
to notify the papers of Connie's orders) it was none of her busi-
ness. Her wedding was to be private! It was. And those who
dislike her have made public scandal of her treatment of cold
men huddled on the front lawn.
She had difficulty with both the M-G-M and First National
publicity departments. At Metro, she was accused of refusing
to take the proper number of stills for "The Easiest Way."
Stills are important; they are the photographs by which studios
advertise pictures.
She didn't refuse to take the stills; she simply refused to take
certain stills. One in particular. They wanted her in a teddy
bear she wore in the production. "No! Five years from now
when I am married and have a family, I don't want pictures of
me in underwear staring at me from the 'Police Gazette.' "
Connie was right, but they tried to argue. They didn't
realize you can never argue with a Bennett. She counter-
offered with a negligee. There was a scene. Connie promised
to appear for the other stills on a Saturday morning. She was
ill. Undoubtedly, they didn't believe her. They insisted she
never gave them enough stills; she insists she did.
THEN she went to First National. The publicity depart-
ment asked her to pose with her father, who was playing
in "Bought," looking into a make-up box,
" Now, isn't that original? " Connie asked demurely. " When
you get something new I'll be glad to pose for you!"
First National also wanted stills. They had heard the
M-G-M story. They asked Connie to reserve a day for them.
"I will be there from two until five on Saturday."
"We would prefer you at ten, Miss Bennett!"
"I will be there from two until five, I said. And when I say
I'll do anything, I do it!" (Which is true, by the way. As
we'll prove later.)
" But we can't get enough. We want an entire day. If you'll
come at ten — "
"You can get a hundred stills between two and five. I'll be
there at two! " She was right again, and by this time the well-
known Bennett dander was up.
Darryl Zanuck and other officials walked onto the set. The
publicity man turned to them, mentioned the Metro situation;
said he needed Miss Bennett at ten —
Connie heard. " You keep still, young man. When you have
any experience to talk from, you can talk. What happened at
another studio is none of your business. I said I'd be here at
two — " There was more; much more. The officials backed
Miss Bennett. They had learned, by being forced to pay her
income tax on top of her salary when they first demurred at the
figure, not to argue with a Bennett.
Evelyn Mulhall (Mrs. Jack) and Kathryn Carver Menjou
(Mrs. Adolphe) were among those who disliked la Bennett.
One evening, at a party, they told her so.
"Why?" Constance demanded instantly.
"Oh, the way you hold your head; look down your nose at
people; speak — "
CAN I help the way I look?" Connie asked quietly. "If I
learned to hold my head high as a child, to carry myself in
a certain way, is it my fault? If I speak a broad A, as I was
taught, am I supposed to change it because others in Hollywood
don't use it? Now, be fair, girls. You don't know me; how can
you dislike me?"
Certainly, they're friends — good friends, today. They
couldn't win an argument with a Bennett.
A writer had an appointment to interview Miss Bennett on
the set of her present picture, "Lady With a Past." A pub-
licity man took her down — the two waited. For several hours!
Miss Bennett made no move toward them. Finally, in despera-
tion, the publicity man went to her and said, " Miss So and So
has been waiting for several hours — "
"And how should I know that? I've never met her. Am I
supposed to know everyone whom you bring down? Why
didn't you bring her over?"
"But you had an appointment, Miss Bennett."
" How did I know she was the appointment? " Rah ; rah ; rah.
A whole line of them.
Constance Bennett does not take things for granted. She
must be told. Her publicity department knows this, of course.
Undoubtedly, this man should have announced the writer;
equally surely, he was afraid to approach Miss Bennett until
she had given him some recognition.
The writer was furious. I chanced to meet her when she left.
"I was raised to be a lady! Constance Bennett is not a lady!"
Connie was passing through Albuquerque recently. Twenty-
five hundred people were on the platform to greet her. She
wanted to send a telegram and do several other things in the
ten minutes the train would be in the station. She stepped
from a train; a little child [ please turn to page 117 1
35
Stax
Wide World
Here is one young man who doesn't want to be the President of the United
States when he grows up. No sir, he would rather be a second Clark Gable.
And the girls are already just crazy about that dimple in his chin. Ladies and
gentlemen, meet Spanky, the newest addition to Hal Roach's "Our Gang."
He's decided to be as mysterious as Garbo and keep his real name from his
public. But he's going gunning for big parts with that weapon on his lap
HOLLYWOOD has gone in for a new hair
comb with a bang. I mean that literally.
The very newest sensation is the bang,
over the forehead.
At Edmund Goulding's wedding tea the
guests were amazed to see Lily Damita arrive
with her hair cut in a bang.
And five minutes later Carmel Myers arrived
with her bangs, followed by Eleanor Boardman
with the most becoming set of bangs seen in
ages.
Over on the Chevalier set there was Gen-
evieve Tobin with a nifty bang hair cut. So
the idea seems to be catching on.
Hollywood claims the idea was simultaneous
with all the lovely ladies but if you remember
it was Garbo (she always does it) who intro-
duced the bang in "Susan Lenox." This was
the first time it was worn on the screen. Garbo
must chuckle when she hears the others taking
the credit.
TSJORMA SHEARER isn't going to say
•*■ ^ those smart lines nor wear those revealing
gowns (and if you saw "A Free Soul*' and
"Private Lives" you know how revealing
Norma's gowns can be) any more. No siree
Bob, it's a right about face to the sweet and
simple for Mrs. Irving Thalberg. "Private
36
In London they call J. C. Lawrence a
barrister, but in Hollywood he's
Elissa Landi's husband. He remains
in England, where this picture was
snapped, while Elissa gathers more
and more screen fame here
C a 1 York
Lives," a swell picture, is the last of smartness.
Her next is "Smilin' Through" and after that
more smiles and things.
You can always trust Norma to keep up
with the newest trends. When talkies first
came in she was being sweet and lovely on the
screen, but she was shrewd enough to see that
the new entertainment wave was toward the
shady lady. So she went shady until she was a
black shadow of her former pure self. Now,
Acme
"No more gangster pictures," said the censors. So Jimmy
Cagney and wife hopped an Eastbound freighter to see what
could be done. When they arrived in New York they had
such a swell time they forgot all about their Serious Purpose.
Here they are going back to Hollywood. Meet the missus.
It's the first time you've seen her
Underwood
If you were playing your first role on the New York stage,
how would you like to have Irene Rich drop by the theater
and give you a make-up lesson? That is the amazing ex-
perience of the young lady, above. Maybe the fact that
Irene is her mother had something to do with the interest
taken in Frances. The girl appears in "Brief Moment"
Ihe Monthly .Broadcast
of
Hollywood
Goings-On/
with the success of "Daddy Long Legs" and
plays of like ilk she knows it's wise to go and
sin no more cinema sins.
As a matter of fact, hubby Irving has always
preferred Norma sweet but he couldn't say
anything while the dollars from her pictures
were rolling in.
Norma loves the sophisticated stuff and no
hours were too long for studio fittings if the
dress was as shocking as possible.
But now she'll be wearing hoop skirts and
will, as always, come smiling through.
T\ THEN they couldn't get Clara Bow to
*^ play in "The Impatient Maiden," Uni-
versal rapidly re-wrote it and cast Lew Ayres
in it. And is Lew's face red? To substitute for
Clara in a picture which was based on a book
called "The Impatient Virgin!" Well, Lew
gets speechless when he talks about it.
TT'S hard for the truth to catch up with the
•^-sensational, untrue story. The New York
newspapers came out recently with a story that
Lilyan Tashman had bought a $10,000 hat.
The truth of the matter is that it was a $10
hat, in which Lilyan wore a beautiful diamond
brooch. Lilyan was quite upset about it.
JOHN P. MEDBURY (columnist)
J says it's rumored that one of Connie
Bennett's ex-fiances heard she spent
$5,000 a month at her dressmakers,
so he quit phoning Connie and
started going with the dressmaker.
"VX THEN Ina Claire arrived in New York
** wearing a short skirted dress the news-
paper reporters asked her the reason. Ina, a
37
International
Here's big news! Clark Gable watches polo match!
Here's news of secondary importance. Wife also
looks on. And you'll notice that Mrs. Clark is more
interested in our camera than What-A-Man Gable is.
There's nothing Clark loves so much as a good
chucker. Yes, yes, little Gwendolyn, on the polo
field, of course. We don't mean a chucker under the
chin. Clark is really being himself in this quite in-
formal snapshot
Sob your biggest tears, girls, over
this gay picture of a happy young
man. It means Buddy Rogers has
given up the screen for quits. He's
brought his guitar and a couple of
saxophones to New York where
he'll thrill the maids of Manhattan
by leading orchestras and appear-
ing in musical shows
flip wise-cracker, shot back, "The depression
has hit me."
Now come, come, Ina. The real reason,
please. Here's the answer.
Ina has grand legs and she's smart enough
to play up the best part of her figure in spite
of prevailing styles.
A S we told you a few months ago, Kathryn
■* ^-Crawford got her big break in "Flying
High'' by reducing ten pounds in a week by
going on an orange juice diet.
Now here's the inevitable result. Kathryn's
sick. They say it's flu — but it was brought
on as a result of the strenuous diet
One of Hollywood's newest diet fads is
prunes and spinach. But don't you try it —
or Sylvia will get you. In this issue of Photo-
play, Sylvia, the most famous reducing spe-
cialist in Hollywood, begins a series of articles.
And boy, oh boy, they're right from the
shoulder. With those drastic diets Sylvia has
no patience. And, as Chic Sale says, she'll
tell you why.
A ND here's another one to make you girls
■* *-mind your Aunt Sylvia. Hidden away in a
newspaper is an obscure item about Katherine
Grant who was found, after a disappearance
four years ago, a patient in the California
State Hospital at Patton. She was admitted
to the asylum about two years ago after being
cared for in various private sanitariums.
A complete mental and physical breakdown
— it was called — yet four years ago she had as
bright a future as any of the present-day stars.
What happened? Katherine was beautiful —
but overweight. She dieted the wrong way.
This is the answer— and the result.
rjLORABEL MUIR tells a grand story about
■*- Dolores Mae Barrymore, nineteen-months-
old daughter of Jack (profile) Barrymore and
wife Dolores Costello. The other day a
servant gave the family dog a bone. While he
was busy chewing Dolores walked in, took it
away from him and began to chew on it her-
self. Mama Dolores was horrified but Daddy
Jack was just that thrilled.
"That's the old fighting spirit," he beamed.
"If she's stealing bones from dogs at nineteen
months — how many big scenes will she be
stealing from actors when she's grown?"
HPHE story called "The Man That
Gloria Married," on another page
of this magazine, is what you mean
when you say "real inside stuff."
And there's a reason why it's the real
thing. You'll notice that the author
is Eulalia Wilson. She is the former
wife of Huntington Wilson. If you
remember your politics you'll recall
that he was Assistant Secretary of
State in the Roosevelt and Taft ad-
ministrations and resigned under
Woodrow Wilson when he and the
then-president disagreed about the
Chinese policy.
Ayf-G-M studio workers have heard Garbo
■**^say, "I t'ank I go home," they've wit-
nessed the discreet verbal battles between
Norma Shearer and Joan Crawford, and have
watched Jack Gilbert storm off his set in
various furies, but never has there been such
unadulterated temperament as is displayed on
the set where Tod Browning is directing
"Freaks."
The bearded lady doesn't like the Siamese
twins and she'll tell anyone they're snooty
and high hat. The reason is that the Siamese
twins, pretty girls, by the way, are allowed
to eat in the M-G-M commissary, while the
rest of the huge and weird company have a
special dining room with a special corps of
hardboiled waiters.
The giant tries to steal scenes from the
human skeleton.
It's easy — all he has to do is stand in front
of the thin fellow. And the sword swallower
won't speak to the ape man.
Poor Tod Browning's hair is getting whiter
by the day. He treats each and every freak
like a prima donna. They all live together in
one Culver City apartment house and are
transported back and forth from the studio.
•"THERE used to be a feeling among new-
•*■ comers in Hollywood that by making social
contacts with studio executives or their wives,
they could further their screen ambitions.
This fallacy has been exploded along with
a number of other Hollywood myths. Witness
the case of Hedda Hopper, Aileen Pringle,
Lois Wilson and Carmelita Geraghty; fine
actresses all and great social favorites, yet
none of them are getting a break.
Even in Hollywood, where nearly everybody
calls everybody else by their first name, the
players are learning that "distance lends en-
chantment" and the better known you are
socially the less often will your screen ability
be recognized
AyfARIE DRESSLER
■'■"■'■luncheon given by a
celebrities at the Ambassador Hotel.
was invited to a
group of social
38
Ray Jones
Dear friends: That old bronk Peritonitis was a tough
one to ride. The first three or four jumps I under-
estimated him, thinkin' there was nothin' new to
expect or be surprised at, when Doc Smith hollered,
"Hey ! Tom, that's Peritonitis you're atop of." I jest
took a short holt and says, "I ride him in my own
way, not by contest rules." So I sat down on that old
rascal, bogged 'em deep and used every trick I
knew — Tom Mix
Underwood
She arrived early, gowned in a plain, simple
sports outfit.
The first guest arrived, in furs, jewels, and
orchids.
Another came in, garbed in velvets, sables
and gardenias.
Still another. And another. All just that
dressed up.
Finally, Marie turned to her hostess. "Why
didn't you tell me this was a masquerade?
I'd have worn a cos'tume, too."
A NEWSPAPER woman asked a
■**■ certain player for some gossip
about his friends.
"I've gossiped so much I haven't
any friends!" he answered.
/^\NE reason why the studios insist that a
^^star keep her physical proportions to a
certain measurement is the fact that every
star has a "double," meaning a stuffed dummy
kept in the wardrobe department and used
for fitting the star's dresses. Hours and hours
of the player's valuable time is thus saved by
having all but the final fittings made on the
"double," and if the star puts on a couple of
inches here and takes off a pound there, it
requires constant changing of the "double's"
measurements at considerable expense.
■pLAYING hunches or other psychic sug-
■*- gestions, is not Clark Gable's way of doing
things. "I don't believe in hunches at all," he
argued. "In fact my experience has been that
hunches work out exactly the opposite way.
"A lot of people kid themselves into believing
a hunch made them do this, that or the other
thing that panned out well. As a matter of
fact, it was either their own good judgment or
advice from outside sources that guided them
and not a hunch at all. They just don't stop
to analyze the reasons behind their own deci-
sions and give all the credit to an imaginary
hunch."
V\ THEN he was working in a rubber factory
** at Akron, Gable related by way of
example, he had a hunch that he should join
his father in the oil fields down in Oklahoma;
that he belonged there; would find the con-
tentment and happiness he was seeking.
"I was never so miserable in my life,"
Gable said. "It was worse than anything I
ever went through. Lonesomeness became a
gnawing hunger. I felt like a living ghost. I
finally quit my job at good wages to go back
to Akron and, eventually, the stage.
"I have had a thousand hunches while
driving that I would turn over into a ditch
at the next curve. I have actually felt I
faced certain disaster. That hunch, or mental
suggestion, is always wrong; I have never had
any kind of accident.
" A NOTHER hunch that certainly
■^^went wrong was the one I had
when I signed for the gangster role in
'Dance Fools Dance,' with Joan
Crawford. I was glad to get the
chance to play so prominent a part
but my hunch told me that was as
far as I could ever go in pictures.
Thenceforth, my hunch told me, I
would be a 'heavy.' Look at me to-
day, a hero — a minister — if you
please !
"T HAD another hunch not so long ago that
■*• turned out with reverse English like all the
others," he continued. "I was walking down
Hollywood Boulevard when I came to a build-
ing with a painter's scaffolding against it. My
hunch, call it superstition if you will, told me
not to walk under the ladder, although it was
out of my way to walk around it. I walked
"Will London be foggy?" Janet
Gaynor asked before she and Mama
and Hubby Lydell Peck took the
boat for England. It was the first
time she had been abroad and she
wanted to know things. Well, here
they are in foggy London and
Lydell is holding Janet's hand so
she won't get lost in the big city
under the ladder, anyway. As I did a pile of
mortar and paint cans fell from the scaffold-
ing above and landed all over the people
walking on the other side of the ladder. I
was the only person in the vicinity who
escaped a paint and plaster shower.
"Another hunch warned me one night while
I was playing on the stage that I had neglected
an important part of dressing. I guess every
man at some time or other has had the dream
of standing in the midst cf a crowd of people
and suddenly discovering he is without trou-
sers. That was the startling sensation I ex-
perienced on the stage before an audience of
a thousand or more people. I fumbled my
lines. My face crimsoned through the grease-
paint. I dared not look to confirm the sus-
picions of my hunch. I went through twenty
minutes of torture until the act was finished.
The hunch was all wrong."
TT is Garbo's habit to be through with her
-Meading man as soon as the picture is finished.
But with Ramon Novarro it's different. No,
no, don't get ahead of me. It's not a love
affair, even though Ramon admits that Garbo
is his favorite actress and he's mad about her.
Arm in arm they stroll across the lot. And
every day Garbo snatches a few minutes to
visit Ramon's dressing-room to hear him play
the piano and sing.
[ PLEASE TURN TO PAGE 86 ]
What .Happened lo ilarry
HARRY LANGDON'S tragic
story has been told in head-
lines.
'• Cash Paid to Hush Love
Suit"
"Langdon and Missus Split"
"Actor Denies Paying Balm to
Wife's Ex-Mate"
''Langdon Longs for Single Life"
"Funny Man Goes Bankrupt"
And there are dozens more.
But the most amazing story of
little Harry Langdon's rise and fall
has never been printed. It is as fan-
tastic as Hollywood itself.
Not so many years ago, at least
you and I can remember it, Harry
Langdon, "the man with the little
hat," was one of the big three of
comedians. There was Chaplin.
There was Lloyd and there was Lang-
don.
Harry had been knocked around —
in films as well as in real life. For
every comedy kick received, there
were three honest-to-goodness knock-
out blows. A trouper in a medical
show at the age of twelve, an itiner-
ant vaudevillian after that and a
Mack Sennett two-reel comic — he
learned how to take 'em.
People who couldn't remember
him in vaudeville praised him on the
screen — and rightly. For here was a
real comedian, a man who knew
enough about the seamy-side of life
to get on the screen that essential
comedy quality — a combination of
pity and pathos.
REMEMBER his eating the chew-
ing tobacco sandwich in an early
Sennett? Remember his being cuffed
around by policemen, husky guys
and oversized wives? Remember that
tragic, futile face?
"Why, the guy's a second Chap-
lin," everybody said, which was un-
fair, since Langdon had a style all
his own and upon that style he
winged his way to the highest com-
edy heights.
He left Sennett to form his own
company and make feature lengths
He produced on the First National
lot and released through them.
"Tramp, Tramp, Tramp" was a great
picture (incidentally a plump almost
unknown girl who didn't quite know
what to do with her hands played
the lead for the great comedian. Her
name was Joan Crawford).
The film was fine but Langdon's
director had taken too much time on
it and run him into the red, so Harry
looked about for another director for
the next one. And he handed the
megaphone to a man who had been a
poorly paid gag constructor at Sen-
nett's.
The man, whose name cannot be
mentioned here, took over the reins
of production and turned out a jim
dandy of a piece in "The Strong
40
L
a
ngdon
The amazing story of
how a two-page letter
ruined the career of a
grand funny man
By Katherine
Albert
Harry Langdon can still give the
world the horse laugh. "I know
I can act, if I'm not licked," he says
When he married Helen Walton
the world looked rosy. But now
they're getting a divorce and Harry's
bankrupt
Man." It was made in record time,
under cost and was a sure fire box-
office attraction. It put Langdon
right on the top of the heap.
Langdon was delighted with his
success. He believed that the trou-
bles he had had — both domestic and
professional — were over and that he
could take it easy now and things
would just sail along on their own
momentum. But the poor fellow
didn't know that the fates had a
little plan up their sleeves that would
completely destroy him.
He'd never been able to indulge in
rich men's pastimes. He'd never
been rich before. So now he took up
golf, believing that his picture com-
pany was in good hands. The third
story of his feature lengths had been
doped out. He knew that both his
director and writer were able, so he
stayed away from the studio for four
weeks and followed a little white
ball over a green lawn. He could
shoot an eighty on a golf course. But
he found himself unable to sink the
put when he got back to the studio.
THE writer and director had
worked for four weeks on the new
picture. They had quarreled. The
writer thought there was too much
footage that retarded the action be-
fore Langdon's entrance. The direc-
tor said he knew his stuff and wouldn't
be interfered with. Quite without
Langdon who was star as well as pro-
ducer, they had gone ahead. When he
returned, they put their* separate
cases before him. He strung along
with the writer, agreeing with him on
almost every point.
The director was furious and the
picture was completed in all the
maddening discord of a school girl
squabble.
And then the fantastic event oc-
curred that was to be the biggest
contributing factor in Ham' Lang-
don's downfall.
THE angry director wrote a letter
to all the movie columnists. He
said that Harry was impossible to
work with, that he wanted to have a
finger in every pie, that he was con-
ceited, egotistical and considered him-
self the biggest shot in pictures. That
he gave himself airs and wore the
high hat instead of the little battered
felt of his films. It was a vitriolic
letter from a disgruntled man.
But the substance of it got printed.
The news was flung all over the
world that Langdon was impossible
on the set and dabbled in everything.
Other writers picked up the story.
Almost every newspaper carried it
and it gathered power as it went
spinning into the world. Movie fans
saw it, but more important, it was
read by producers.
[ PLEASE TURN TO PAGE 106 ]
Gaston Longet
A PRESS- AGENT would describe this as a "charmingly intimate camera study."
1 *> Until we looked at the face we thought it was Marlene Dietrich. Then we
recognized Arlene Judge, the naughty child of "Are These Our Children?" She is the
recent bride of Wesley (Director) Ruggles
Ernest A. Bachrach
TRENE DUNNE is the sort of girl who drives interviewers wild. She's a grand actress
-*-(you saw her in "Cimarron" and "Consolation Marriage") but there's little to write
about her except that her physician husband lives in New York and they talk long distance
every evening; that she likes astronomy and was born in Kentucky; that she can sing, is a
swell golf player and a nice person
Ernest A. Bachracli
i
I^HIS is the way Joel McCrea looked the day Connie Bennett married "Hank, the
-*• Marquis, and if you think that's a picture of a young man with a broken heart you've
been taking your Pagliacci too seriously. Nope, Joel is the sort of lad men trust with their
wives and he'll take Connie out when Hank is busy. In the meantime he'll be Dolores Del
Rio's leading man in "Bird of Paradise"
" A X TELL, well," says Clark (What-A'Man) Gable, as he figures out the raise he got from
" ' his producers, "that will more than make up for the increased income tax." They
may be cutting down in the studios but they are not slicing his salary. They raised him to
$1,000 a week and he steals pictures from $5,000 a week ladies
Wh
en
Nordic Met L
atin
This was the first
still picture taken
of Garbo and
Novarro in "Mata
Hari." And each
star showed nerv-
ousness. Garbo
thought Ramon
might try to steal
thescene. He
thought she might
"upstage" him
When the camera
shutter clicked
after this picture
was made Garbo
looked up and
laughed at
Ramon. They
were friends at
once and have
been ever since.
Both were happy
together
WHAT happened on that
memorable afternoon
when Greek met Greek is
history.
But the fusing of the Nordic and
Latin temperaments of Greta Garbo
and Ramon Novarro is still spot news
in Hollywood where anything is ex-
pected to happen and often does.
Announcement of the co-starring
assignments for "Mata Hari" sounded
a signal gun for rumors, conjecture and
prognostication of all description. It
freely was vouchsafed production
wouldn't last two weeks. Friends of Director George Fitz-
maurice wrung his hand sorrowfully as though he were about
to board a rocket headed for the moon.
Seven-to-three money was quoted on the curb that Producer
Irving Thalberg would leap overboard from the "S.S. Cat-
alina" before he was through with the picture. A few
optimistic souls ventured vagrant hope that somehow every-
thing might turn out all right, after all. . . .
How would Garbo and Novarro get along in double-yoke?
In a business of give-and-take who will give the giving and
who will take the taking? The back of whose neck will be
in the closeups? Would Garbo and Novarro flame with another
Gilbert-Garbo bonfire or would they choose weapons at twenty
paces?
And who ever heard of a Swede and a Mexican eating at
the same bowl, anyway?
Well, the picture is finished. It speaks for itself. Those
few privileged to peek into projection rooms acclaim it the
best either star has contributed to the talkies — if not the best
in their separate careers. The artistic quality is unquestioned.
Its box-office appeal is obvious. There have been no bodies
discovered strewn about the sound stages. Mister Fitz-
maurice is still a sane man. Irving Thalberg's obituary hasn't
appeared in the public prints.
And Garbo and Novarro are the best of friends!
_ In fact, it has been whispered around the Hollywood grape-
vine route that Garbo was happier making "Mata Hari"
than she has been in many months. If not years. It is said
she enjoyed Novarro's companionship tremendously, welcomed
Ramon Novarro's story
of working with Garbo
in "Mata Hari"
By Ralph
Wheel rig h t
the sharing of the vast burden of carry-
ing an entire production.
Garbo never appeared more radiant,
throbbingly human, than in the glam-
orous vehicle in which Novarro fills
the romantic role of the Russian
aviator, enamored of the beautiful spy.
Those who have seen Miss Garbo
about the lot during the making of the
picture, commented upon the gor-
geousness of her costume, her un-
ruffled contentment. Not once on the
production, gossip says, was there the
slightest friction of any kind. Both
stars, accustomed to ruling their own roosts, were more than
willing to meet each other half-way in making concessions.
They understood each other.
By the very reason of opposite temperaments Garbo and
Novarro had an intuitive insight into each other's likes and
dislikes. Bringing them together might be described by a
psychologist as the joining of negative and positive electro
poles.
GARBO, the Nordic, inclined toward being phlegmatic.
Novarro, the Latin, more fiery of personality, high-strung,
a bit restless. Both as sensitive as Stradivarius violins. But
somehow they are strangely attuned in a common effort. To
them, their careers are all-important. They live it.
Ten years a star, twice as long in motion pictures as Garbo,
Novarro was almost naive in his delight in being cast in "Mata
Hari." True, he had met Garbo socially one time or another,
but his natural pride never would have permitted him to
reveal his great ambition to play opposite her.
This enthusiasm was manifest in gallant fashion on the
morning filming began on the picture.
On her dressing-room table that morning, Garbo found a
huge mound of pink roses. Tucked in the silky petals was a
note, penned in a sweeping, boyish hand.
It read:
"I hope the world will be as thrilled to see Mata Hari as
I am to work with her — Ramon Novarro"
First on the production schedule was the scene in Mata
Hari's exotic apartment. It was [ please turn to page 101 ]
45
She has a sense of humor, but is
superstitious; wouldn't put a hat on
a bed for Connie Bennett's salary
He is tailored to perfection, won't
wear brown suits and goes in for
polo coats with woolly scarfs
MINNA GOMBELL, the good scout of Hollywood, has
a dimple in her chin and a tiny mole on her right cheek.
Talks incessantly and has laughed herself out of dozens
of tight places.
She arrived in Hollywood at exactly twelve minutes past nine.
At nine fifteen she had Hollywood's number and knew half the
answers. She knew the other half before lunch.
Whenever a producer along Broadway found a weak spot in
a play, he sent for Minna to help. She helped. Weak spots are
Minna's specialty. During the run of a certain play, Minna
had to stand in the wings and scream and scream. The play
and Minna's voice failed at the same time, which drove her to
studying tonal placement. She emerged with perfect diction.
And no sooner did they hear her speak in Hollywood than they
made her a studio voice teacher.
Standing off on the sidelines she read the part of Edna in
"Bad Girl" for the other players to rehearse. And yearned for
the part, which still remained vacant. Finally the director grew
desperate. "Where am I going to find Edna?" he shrieked.
"Here," answered Minna meekly. She got the part. She was
great. And has been ever since.
Loves swimming and can aquaplane. Stays slender by
foregoing sweets and potatoes. Calls her car "Queenie," be-
cause it behaves like a burlesque queen, kicking up in the
wrong places.
She's quite alone in the world and lives in a hillside apart-
ment overlooking Hollywood. But Hollywood isn't overlook-
ing Minna.
Her last name rhymes with dumb-bell. But Minna isn't one.
Wears plain clothes and loves to walk in the rain, but has never
met Garbo.
RALPH BELLAMY always wanted to be an actor, so at
fifteen he ran away from home (Chicago, 111.) to be one.
He toured with small shows until he landed in New
York, but no one cared.
Cold, hungry, tired, he walked, one day, from the World
Building to his room on Seventy-ninth Street. And suddenly
found himself perched on the edge of the fire escape, five
stories above the ground. His knuckles glistened white as they
clung to the rail. Cold sweat bathed his body. Suddenly he
laughed, instead of leaping as he'd planned to do. To this day
he loathes fire escapes. They give him the creeps. The next
week he landed a part on Broadway. And was soon snatched
away by the movies.
They tossed him a small part in "The Secret Six," and bits
in "The Magnificent Lie" and "West of Broadway." He made
them hum. Then Fox gave him "Surrender" and he was a hit.
He's six foot, one and a half and has a disarming smile re-
vealing small, white teeth spaced in the front, like a kid's.
Eyes are light blue and his hair light brown. He twiddles his
thumbs when he talks. Has a weakness for neckties with blue
in them and is devoted to an old pair of trousers he's had for
years that are worn in vital spots, but he puts them on the
minute he reaches home.
He collects music boxes that play when the lids are removed
and keeps the lids off most of the time. It's awful. He loathes
sweetbreads and demands lemon cream pie three times a day.
But doesn't always get it.
Catherine Willard is his wife.
For no reason, he's scared of the number thirteen, and
wouldn't carry §13 in his pocket if he had it. He seldom
has it.
. . \7
V .
She thinks no one suspects she's
living ; that she's not temperamen-
tal enough to be noticed
IF you've been wondering about the girl with the Garbo
voice, it's Karen Morley, a calm, practical young woman
who suddenly blossoms into an alluring, intriguing, glamor-
ous person before a camera. Even Karen doesn't know how
it happens.
She's always imitating people at home, and to her utter
horror found herself addressing Garbo, herself, in thick Swedish
accents. Garbo gazed at her for some moments in silence.
"Ach, so iss, eh?" she finally remarked, which may mean one of
several things. Karen fears the worst.
Meat and pickles she loves and will ritz milk and vegetables
every chance she gets. She weighs one hundred and four
pounds, never diets and is five feet, four inches tall in stocking
feet. She thinks she's a giant. It worries her. Her constant
habit of speaking the truth has her always in jams. She still
speaks it.
She has a habit in pictures of sticking out her lower lip.
She received dozens of fan letters about it, so she tries to keep
it in. The smell of lilacs always leaves her homesick for a
back yard in Ottumwa, Iowa, where Karen was born.
Her yellow hair is naturally curly. So she doesn't bother
combing it. Merely shakes her head and lets it fall where it
will. Modern poets and German and Russian novels are her
favorites. She reads constantly.
Claims she chose theatrical work because she's lazy and it
offered the quickest way to success and money.
Practically no one awes her. Even the two Barrymores in
her latest picture, "Arsene Lupin," fail to ruffle her calm.
Karen Morley is absolutely sure of herself, never fumbles for
a word, is reserved and thinks clearly. She lives at home where
strict hours are kept, and has one steady beau, a business man.
Select Your Pictures and You Wo
n't
*
PRIVATE LIVES—M-G-M
WELL, they've kept them all in — those swell lines
of the Noel Coward play. And they're both there —
those two grand, impossible, delightful characters who kept
the show running on Broadway for years. Norma Shearer
and Robert Montgomery are excellent as the ex-husband and
ex-wife who, having married others, run away with each
other. A wild farce idea made snappy by sparkling and at
times, questionable dialogue. Una Merkel and Reginald
Denny play the dull folk who are run away from.
How Norma and Bob quarrel and make up, only to
quarrel again! Bob's comedy is broad but it's good, and
Shearer does her most efficient and, sad to say, nudest
work. The kids won't understand this, we hope, but if you
like 100 per cent sophistication, you'll like this.
The
Shad
ow
A Review of the New Pictures
ik
MATA HARI—M-G-M
THE Garbo-maniacs have a thrill in store for them when
they view her as the famous spy, Afata Hari. Garbo
has never in her entire career appeared more ravishing,
more glamorous, nor done finer work than in this picture.
Seeing it, you can well believe that many men gladly laid
down their lives for her, as they do in this thrilling story.
The life story of the real Mata Hari, who faced a French
firing squad during the World War, is familiar to thousands.
Garbo moves alluringly through adventures full of intrigue
and daring, but pays the death penalty for her crime.
Ramon Novarro gives a genuinely moving performance as
the young officer for whom Mala Hari risks all. Probably
no one else could have played the part as convincingly.
Ramon makes you believe he would be just such a slave to
the woman he loved.
Lionel Barrymore and Lewis Stone shine in the splendid
supporting cast. Garbo wears fantastic gowns that suit her
and the role but Seymour advises against wearing copies of
them in your parlor. Her entire work, from beginning to
end, is magnificent. Don't miss this glittering picture, and
don't miss the new team of Garbo and Novarro.
Have to Complain About the Bad Ones
The Best Pictures of the Month
MATA HARI LADIES OF THE JURY
PRIVATE LIVES LADIES OF THE BIG HOUSE
THE GREEKS HAD A WORD FOR THEM
EMMA DR. JEKYLL AND MR. HYDE
JUVENILE COURT
The Best Performances of the Month
Greta Garbo in "Mata Hari"
Ramon Novarro in "Mata Hari"
Edna May Oliver in "Ladies of the Jury"
Norma Shearer in "Private Lives"
Robert Montgomery in "Private Lives"
Sylvia Sidney in "Ladies of the Big House"
Ina Claire in "The Greeks Had a Word for Them"
Marie Dressier in "Emma"
Fredric March in "Dr. Jekyll and Mr. Hyde"
Miriam Hopkins in "Dr. Jekyll and Mr. Hyde"
Jackie Cooper in "Sooky"
Douglas Fairbanks, Jr., in "Union Depot"
Pat O'Brien in "Juvenile Court"
Casts of all photoplays reviewed will be found on page 116
*
LADIES OF THE JURY— Radio Pictures
IT'S a good thing stays have gone out! Ladies would
wreck their health if they had stiff restraints against their
sides while seeing this. It's one of the big laughs of movie
history.
Although it's called "Ladies of the Jury," don't let that
mislead you. Masculine weaknesses are as subtly and
amusingly revealed as feminine ones. What twelve men
and women will do when closeted in a room to judge another
human being — we could never do justice in the telling.
Edna May Oliver starts as one against eleven. But you
can trust her to read the nature of her opponents and play
upon them so adroitly that — well, see the picture.
There's either a chuckle or a roar in every line. The
only possible criticism lies in the fact that the picture moves
so rapidly you feel you have missed one laugh while re-
covering from another.
There's not a hint of the risque. Clean, healthy entertain-
ment. We took an eleven-year-old to see it and he, as well
as the adults, wants to see it again. The cast (including
Roscoe Ates and Robert Mc Wade), is perfect. Every actor
is a veteran and each is picked as a definite character.
*
THE GREEKS HAD A WORD FOR THEM—
United Artists
SOPHISTICATED, smart and amusingly different.
Crammed with subtle innuendoes and cute little tricks
belonging to the feminine gender of gold-diggers.
Ina Claire surprises. She has never been photographed as
well and is startlingly beautiful. Her acting is delightful.
Madge Evans looks a youthful version of Greta Garbo in
many shots. Joan Blondell is her clever, natural self. Chanel,
of Paris, dressed the girls, but the girls re-designed.
It doesn't depend upon story but situations. Three gold-
diggers out to collect from well-sugared daddies. Lowell
Sherman is one. He gets a hand as both bachelor and
director. David Manners had a heart as well as a purse.
Hence complications! By no means for children and not
good for girls in their formative years.
*
EMMA—M-G-M
WITHOUT Marie Dressier this would not be so meri-
torious, but it has Marie so we recommend it. We
saw it at an early preview and the story is undergoing
changes. It will probably be much improved when you see it.
Marie is a servant. The lady-of-the-house dies while
giving birth to a fourth child. Marie raises the family with a
devotion that real mother love seldom excels. The family
rises in position; moves from bungalow to mansion. The
children grow "modern." They forget Marie is mother;
remember her as servant. She cures them of that.
She is tried for murder. But — we will not tell out-of-
school secrets; only advise it will bring tears and put another
notch on the victorious gun of Dressier.
49
Here's Your Monthly Shopping List!
iV
DR. JEKYLL
AND
MR. HYDE—
Paramount
*
JUVENILE
d
ZiedmanProd.
HERE is a picture that partakes of the dual nature of its
principal role. The first part is a "Dr. Jekyll" of beauty
and drama. But when Dr. Jekyll becomes Mr. Hyde, the picture
follows suit. Fredric March's work is splendid and Miriam
Hopkins shares the honors. Too bad this filming of the Steven-
son classic is not good fare for children nor even for adults who
are easily unnerved.
THE pathetic story of a boy who imitates the wrong kind of
hero and goes overboard because of it. It's not a preach-
ment, but it reveals conditions surrounding adolescent youth.
It makes you think. Pat O'Brien, as the "boot-legging" hero,
gives a fine performance, while Junior Durkin, as the worshipful
lad who follows blindly, just about breaks your heart. Have
yourself a good cry.
COCK OF
THE AIR—
United Artists
aw
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9 i lw ' il
<^b<fc.<^ jl v JU
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SOOKY—
Paramount
BILLIE DOVE emerges as a war-time Parisian beauty, so
distractingly charming that she has to be sent into oblivion
in order that the Allies can carry on.
The story goes haywire somewhere. It obviously was meant
to be whimsical, and ends by becoming almost slap-stick at
times, and rather risque. Some daring bedroom scenes, fair
amount of suspense, and gowns that will make you gasp.
THIS lives up to the word "sequel" by its resemblance to
"Skippy." Yet, the kids, young and old, will like it. Of
course, Jackie Cooper is sensational. He pulls your heart right
out with his tears and thjen puts it right back again with his
smile. Robert Coogan is the same Sooky. Jackie Searl, as the
sissy villain, is perfect. Splendid entertainment, this, for all
the family.
delicious-
fox
girl OF
THE RIO—
Radio Pictures
ANY picture with Janet Gaynor and Charlie Farrell is of
interest, and this is specially recommended because it is
clean. Without Gaynor and Farrell you wouldn't walk two
blocks to see it. But you will like the musical score by George
Gershwin. Janet is a Scotch waif who tries to elude immigration
officials. Charlie is the wealthy American. Encourage this clean
picture by attending it.
50
THIS talkie version of "The Dove" is a singular come-back
triumph for Dolores Del Rio. It conclusively proves her
an excellent actress and one of the most beautiful women of the
screen. The picture is good entertainment. Leo Carrillo as the
villainous Caballero and Norman Foster as the Johnny of
Dolores' heart are perfect, but Dolores takes the honors in her
first picture made since her illness.
The First and Best Talkie Reviews!
THE BEAST
OF THE CITY
—M-G-M
?l
MM
p <
r*^n>
|t">^
f * 1
*b Br
^MBlt^.
M
jmI B^
A WOMAN
COMMANDS
—RKO-Pathe
THIS is not only intriguing entertainment, but it merits
intelligent attention because it presents potently the ob-
stacles facing the police of a big city. The inside workings of a
police department are shown in interesting detail. Walter
Huston, Wallace Ford and Jean Harlow snap out excellent
performances. The platinum blonde proves herself an actress
as well as a "looker," while Huston is really great.
WHAT a pity that Pola Negri should return in such a
trite, impossible and worn-out theme. If she had any-
thing to do, she would have done it well. Her bright spot is
singing in a cabaret. The gal has a luring voice which records
gorgeously. Basil Rathbone plays opposite and Roland Young
makes much of nothing. Pola is beautiful and intriguing. See
this for yourself.
THE WOMAN
FROM
MONTE
CARLO—
First National
UNION
DEPOT—
First National
REGARDLESS of Lil Dagover's fine work and evident po-
tentialities, her first American starring picture is not
sensational. She would grace frothy sophistication better than
this heavy, wearily-talkative melodrama. She plays the wife of
Walter Huston, commander of the ship on which all the scenes
are laid. The ships under fire will bring thrills, but the story
bores. Warren William turns in a nice performance.
VARYING from the average screen fare, this is well worth
anyone's time. It portrays humanity in a Union Depot —
life as you see it in snatches, with the snatches played by some
of the best actors in Hollywood. Doug Fairbanks, Jr., leaps
along moving trains as agilely as once did his father. Joan
Blondell is cuter in her usual wisecracking roles, but good as a
straight lead, too.
MANHATTAN
PARADE—
Warners
UNDER
EIGHTEEN—
Warners
WINNIE LIGHTNER and Charles Butterworth should
be enough for any comedy. But they've thrown the big
parts in this one to the headline vaudeville team of Dale and
Smith. They're a riot. It's a satire on Broadway and theatrical
producers. Laughs come as rapidly and as frequently as traffic
cops you're not expecting. Luis Alberni is fine as the mad
impresario. See this Technicolor comedy.
MARIAN MARSH is to be congratulated on her first
starring vehicle. She does well. The old story of the in-
nocent cloak model and rich client has a new plot twist, lovely
sets and smart clothes. Anita Page, the financially-harassed
sister, makes the most of her part, while Norman Foster, the
pool-room expert, gets many laughs. Regis Toomey and War-
ren William are fine. [ additional reviews on page 97 ]
51
52
Both the Barrymore boys act in "Arsene Lupin." They've been in the same productions before, but John
has always had the biggest roles. Now it is Lionel who dominates the scenes and John lets him take the
royal family honors
To
R
the Head of the
Cl
ass
ABOUT the year 1910,
a dizzy adolescent in
shiny pants, I wan-
dered into the Dream-
land Theater, where I could
absorb four one-reel pictures
for five cents.
There was method in my
visit. I knew that on Saturday
the latest Biograph picture
would be squirted upon the Dreamland screen, and thither I
took myself, weekly, as on a pilgrimage. For I was hopelessly
in love with Mary Pickford, Marion Leonard and Florence
Lawrence, and I never missed a Biograph (one D. W. Griffith
made them all).
This particular Saturday, though I did not suspect it then,
loomed large in the history of the baby photoplay. The name
of the picture I saw that day was "The New York Hat." It
was written by a sixteen-year-old girl named Anita Loos, a tiny,
big-eyed creature who was to amass a fortune from the stage
and screen. Its star was my beloved Mary Pickford, then
merely "The Biograph Girl." And its leading man, all dressed
up in clerical clothes, was Mr. Lionel Barrymore!
I doubt that many remember Mr. Lionel's debut in the leap-
ing tintypes. After all, I suppose there were not many Bio-
graph fans, in those days.
But I remember it, and for twenty years I have nourished the
memorv of that trivial, inconspicuous premiere. For, of the
great Barrymore line, Mr. Lionel seemed to prosper least. Of
the three star-spangled children of the beautiful, ill-starred
Maurice Barrymore, Mr. Lionel, the eldest, got nowhere quite
the fastest.
_ Miss Ethel, tall and statuesque and commanding with a mag-
nificent voice that did things to the soul of the listener, got on.
In her twenties she was a star, beloved of the matinee girl.
Mr. John, the youngest of the trio, was
beautiful. After a weird period in minor
farce, he scored a terrific success in Gals-
worthy's mighty play, "Justice," and was
Overshadowed for twenty years
by John and Ethel, Lionel
Barrymore shines through
off on a mad, magnificent career
that ended, inevitablv, in
Hollywood, at $20,000 a week.
But Mr. Lionel, the first-
born— he never seemed to get
on. While Mr. John's beauti-
ful nose poked its way into a
dozen starring photoplays —
while Miss Ethel easily
achieved the position of First
Lady of the American Theater — Mr. Lionel was serving out a
modest term as director for Metro-Goldwyn-Mayer pictures.
And then, suddenly, and for no apparent reason, Mr. Lionel
laid down the megaphone and picked up the grease-paint once
more.
Then came what to me is the most thrilling event of the
modern photoplay. Suddenly the name of Lionel Barrymore
was heard on the tongues of all picture fans everywhere! Cast
as a dissolute, brilliant attorney in the picture called "A Free
Soul," he turned in a performance of the very first water. His
notices were magnificent. He was in demand.
JUST brother Lionel — turning out a good, workmanlike job of
acting. And at the age of fifty-three, with his brother and
sister inevitably on the long, swift chute that leads to theatrical
oblivion, he had arrived.
I know of no more dramatic, romantic story in the history of
pictures than the new arrival of Lionel Barrymore. It has
every element of theatrical beauty. Consider the record.
What has happened to the great Barrymore tribe in the
past brief decade — the one real royal family of the American
theater?
Consider Mr. John. Little by little, as the years took their
toll, his beauty faded. That magnificent nose became a bit
peaked. He was no longer fitted for the Don Juan sort of thing
— all that remained for him was the crepe-
hair putty-snouted character work that
By Leonard Hall
sided,
[ PLEASE TURN TO PAGE 108 ]
53
Llewellyn Carroll is a
new PHOTOPLAY find
among Hollywood
writers. She knows
the studios inside out
and every phase of the
personalities of the
players. You will de-
tect a new note in her
writings. Watch for
her every month.
WHAT
H
OLLYWOOD
Did To A
New England
s
choolmarm
SIX years ago, in a small, quiet New England town, a
young, attractive blonde yawned to bed on the screened
sleeping porch of her parents' old-fashioned house. Her
eyes, blue and clear, gazed into the star-sprinkled sky and
dreamed beyond the blue-black rim of horizon to the metropolis
of New York. New York! Life . . .
Fortunately, reality plays no part in dreams. If it had,
Thelma Todd, school teacher, could never have dreamed, for
the salary she received for teaching small children their a-b-c's
paid for only the necessities of existence, not the luxury of
dreams. Yet she believed, beyond the shadow of a doubt, that
some day she would be an animated figure in the fascinating
pattern of New York.
The dream faded in the daylight, chased away by prim
routine. Thelma, however, was to a school teacher's desk what
a duck is to land. She was vibrant and gay with youth. She
was beautiful, with a fresh, creamy complexion, a laughing
mouth, a curved, graceful body. She had brains, but her wit
was a flashing rapier and her bucolic admirers were never
frightened away by "blue stocking" humors.
Thelma believed in trying anything once. The local theater
announced a movie contest, the winners of which would be
signed by Paramount and brought to the company's Long
Island studio, there to be taught the technique of acting before
the camera and to be featured in a film. Thelma was urged to
enter the contest.
A school teacher enter such a contest? She shrieked with
merriment at the idea — and entered it. Anything — once.
Having entered, she wanted to win. The Todd girl sympathizes
with failures, provided she isn't among them. So suppose she
did smile coquettishly upon the theater manager whose power
decided what local applicants would be submitted to the
judges?
She won the contest and amidst a flurry of family and friends
she was packed and waved off on a train bound for New York
and adventure. Ecstasy flooded her heart and the wheels
clicked a paean of hope along a steel rainbow.
New York lived up to her dreams. The Paramount studio,
despite long days of work, thrilled her. It moulded and pol-
ished the unsophisticated blonde school teacher. She changed
subtly and was changed subtly in the motion picture environ-
ment where sex, heretofore a moonlight lark, was merely a
Who is this
woman? We'll
give you up to
eighteen
guesses. Cross
our heart and
hope to die, it's
Thelma Todd
when she was
teaching school
u
"Teacher, I
know the an-
swer," said her
pupils. But the
kids didn't
know that some-
day little Miss
Todd would be
a lovely Holly-
wood actress
J
The dreams of a demure
little school teacher who
was metamorphosed by
Hollywood into a beautiful
and glamorous actress
have sometimes turned into
nightmares of disillusion
By
Lleivellyn
Carroll
provocative commodity and recognition its golden
by-product.
After months of study, the Paramount students
completed their technical training. They made and
finished their picture, "Fascinating Youth." The
showing of this picture and the reaction of critics
and public determined whether the young players
would receive bona fide Paramount contracts or be
returned to their respective homes.
Thelma Todd was in a fever of anxiety. Suppose
she failed and was not signed? Should she remain in
New York and struggle along as a movie extra,
return to school teaching, or fit herself for an office
position? She put the worry aside. There was no
need to cross any bridge yet. Thelma is a bit of a
fatalist at heart. What is, is. What isn't — well, it
isn't. Why fret?
The need of a decision never arose. Thelma, to-
gether with Charles "Buddy" Rogers, Josephine
Dunn and Jack Luden, was signed to a contract and
sent to Paramount's West Coast studio. Life, rich
and alluring, stretched before her on the long train
trip to California.
She arrived in Hollywood, starry-eyed, bubbling
with anticipation. Hollywood, however, is bored by
young emotions. It accepts only fame, success and
riches. The Todd girl, with a surprised lift of arched
brows, shrugged off the disappointment of her
negative welcome. She knew no one in the com-
munity, yet she had no qualms of loneliness. Her
very love and exuberance of life had always sur-
rounded her with amusement and activity.
SHE suffered from no inferiority complex. Neither
was she awed by the expensive homes in Beverly
Hills with their sweep of green lawn, of flowers, of
trees. Nor was she awed by the expensive cars, the
swank and the poise or pose of the picture rich.
But she was awed — indeed shocked — by the more
personal, the balder aspects of Hollywood. Unat-
tached beauty, she discovered, was considered fair
prey for men, from extras to stars to executives who
liked to play. It made no difference if they were
married. They played and were known to call it at-
tending "studio conferences." They played to-
gether, usually, and were familiar with each other's
indiscretions. In the argot of the studio, this was
cynically accepted as "knowing where the body was
buried." Many incapable minor executives held
their jobs by being accomplices to the indiscretions
of their superiors.
Thelma found, too, that Hollywood gossiped
viciously. No person was safe from the "pack." It
was smart for women or [ please turn to page 1 16 ]
This is Thelma Todd today — a far cry from the girl on the
opposite page. Hollywood has changed her physically, as
you can see, and mentally, too. Some folks say she's hard
and cynical. She isn't, really. She just minds her own
business, goes around with whomever she likes and scoffs
at rumors and gossip concerning herself
55
Quiet! The cameras are turning!
A WHISTLE sounds. A button, lighting the red
**-light at the door of the stage, is pressed. "They're
turning, they're turning," echoes over the set. Then all
is quiet as a tomb. Director Robert Florey is ready to
begin "Murders in the Rue Morgue," another thriller
56
Photo by Stagg
Hushed horror comes to the set!
THE fearful guttural grunts of the ape, the shuffle
of his padded feet and the Shakespearean voice
of Bela Lugosi are noises that drop into the silence.
And Sidney Fox knows they mean her doom. This
is the scene the cameras on the other page are taking
.
57
Left — Donald B.
Wisener. He sells
them a license if he
doesn't catch them
in any fibbing
Center — Katherine
Long, demon re-
porter of Yuma, who
out-ritzed bride
Gloria Swanson
Right— Judge Earl
Freeman. He welds
them quickly and
sends them back
to the airport
DOROTHY MACKAILL —
" hardboiled Dot," they call her
in Hollywood because she's so
worldly — cried like a baby while
she was being married to Neil Miller! —
and then she took him across the line
into Mexico and got so — uh — happy
that she didn't want to go home with
him!
And Richard Dix, whom you just
can't keep away from in front of camera
lenses in Hollywood, scowled as only Dix can scowl at camera-
men who wanted to get a snap of him and his brand new bride!
— and he got square with them by letting them wait outside a
closed hotel door listening to cork-poppings inside.
And Gloria Swanson — but wait! We're getting 'way ahead
of our story, even before it's fairly begun. For this is the
Yuma's-eye-view of that startling succession of movie-star-
weddings that happened not so many weeks ago in that little
Arizona hamlet, which forthwith leaped into national fame with
the new soubriquet: "Hollywood's Gretna Green."
This is the story of the little things filmland's newlyweds said
and did in Yuma during those few hours they spent there being
married. And maybe some of it's the answer to the Hollywood
wisecrack that grew and grew and grew, after the Yuma wed-
dings— something to the effect that it was merely the proof of
Hollywood's sense of Yuma! And, of course, seven-score song-
writers at once went to work writing music for songs like
" Yumarry Me In Yuma."
It really all began when some California legislator, who
couldn't think of anything else to write a law about, worked
himself into a fever when he contemplated the horrible con-
sequences of getting married too easily. He had heard, speci-
fically, of a case or two where a couple of young folk had
celebrated too much at some party — and awakened the next
morning and found they'd gotten married.
So he introduced and had passed what's called California's
"gin-marriage" law. It prescribes that you can't get married
in the Golden State (adv.) until three days after you've filed a
notice of intention.
Well, a lot of people when they want to get married are
58
The inside story of
how the stars behave
at their "secret
weddings" in Yuma
terribly impatient. Hollywood stars,
particularly, are noted for their im-
pulsiveness. Good heavens, it'd be a
reasonable bet that if some Hollywood
stars had to wait three days between
filing an intention and the ceremony,
they would have changed their minds
and wanted to marry somebody else by
that time!
And so they started looking around
for places where they could step up, get
a license, get married, and get back home. First they hit upon
Nevada, where anything goes. Nevada became the state where
they capitalized on both ends — rapid-fire divorce in Reno;
rapid-fire marriage in Las Vegas.
Notable among the Las Vegas marriages was that of Lola
Lane and Lew Ayres. They halted a murder trial so the
superior judge could step into his chamber and marry them,
while the defendant waited. James Kirkwood committed his
third (or was it fourth?) marriage, too, in Las Vegas. But Las
Vegas harbors some wide-awake newspapermen, Hollywood
discovered, so the element of secrecy was lacking.
AND that leads to the first of the notable Yuma-Holly wood
weddings : that of June Collyer and Stu Erwin. They're real-
ly the ones that started the Yuma wedding vogue. It wasn't
Aimee Semple MacPherson's press-agent-and-reporter-and-
photographer-accompanied "secret" elopement to Yuma that
did it at all, as some would have you believe. It was June
and Stu who blazed the trail.
Now, you've already read in Photoplay about the Collyer-
Erwin romance and Yuma wedding — how they stood in a
superior court room with the thermometer bubbling at 108
while a six-foot-tall judge named Kelly made them man and
wife, while a minister in overalls, a bit disgruntled at not getting
the fee himself, stood in the background. You've read that —
but you haven't read one detail that's being told now, for the
first time. It's about how Stu lost his pants and almost
couldn't get married! (He'll kill me for telling this.)
Stu and June had motored all night across the southwest
desert to reach Yuma for a morning ceremony. With them
Th
e
N
ew
vrretn
a
Vjreen
By Harry Lang
This is the way Dorothy Mackaill and Neil Miller looked just after
they said "I do," and started home in the plane. Dot was smiling
then, but she cried during her wedding ceremony
were June's two brothers. They arrived tired, dusty, dis-
hevelled. Instead of going, like that, to the courthouse, they
went first to the San Carlos hotel — one of Yuma's two more
pretentious places.
They took a row of rooms, and while June prettied up in
one, Stu took a bath and shave in another. And sent out his
pants to be pressed.
Then he waited.
June phoned that she was ready. Stu said he'd be down as
soon as he got his pants on. He rang for a boy.
"Where in h — in Yuma are my pants?" he bellowed.
" Your pants? " asked the boy.
"Yes, my pants," thundered
Stu, trying hard to look impres-
sive and dignified. But no man
can look dignified, all dressed up
without his pants! The boy said
he'd look for 'em. He went. Stu
waited.
June called again. Stu ex-
plained his predicament. June,
instead of being properly sym-
pathetic, merely howled with
laughter. Stu decided to
throttle a tailor. He kept on wait-
ing. Can you imagine an im-
patient bridegroom-to-be wait-
ing for a pair of pants to get
married in?
Well, the pants finally arrived
— but not until June, her two
brothers, the license clerk and
the judge had waited for more
than an hour. And so they were
married.
And went back to the hotel
and Stu proudly re-registered as
"No pictures!" thundered Richard Dix after the
wedding. So this fuzzy shot of Richard's back as
he helped his bride into the plane for the return
trip was all cameramen got
" Mr. and Mrs. S. Philip Erwin." They thought they'd gotten
away with a secret wedding. But in Yuma, there are a corps
of news-hounds of fast calibre.
June and Stu didn't know it, but the wedding story was
on the wires before they were man and wife. And so the phone
rang in their room.
"Say," demanded the hotel's manager, or somebody in com-
mand, "what's a-goin' on here? I gotta call for a MISS Collyer
here, and they say we can find her in YOUR room. We'll have
no Hollywood goings-on in THIS hotel . . .!"
But Stu showed the license and the certificate. And so
everything was smoothed over,
and they stopped over in Mexico,
which is just three miles from
Yuma, and had a wedding break-
fast. And the customs officers
at the border didn't know it, but
the newlyweds brought back the
cutest wedding souvenir you ever
saw — it's a tiny, tiny bottle with
some brown liquid in it, and a
label that dates back to pre-war
days. They've still got it. They
say they'll never open it.
Well, that wedding focussed
Hollywood attention on Yuma
as a place to marry. About
Yuma, they learned this:
That it's less than four hours
from Hollywood by air. That
there's a justice of the peace
ready to marry all comers at any
hour. That to celebrate, they
can motor for ten minutes and
be across a border in Mexico,
where the only thing Prohibition
[ PLEASE TURN TO PAGE 111 ]
59
Drawing by Fair
60
Movie Producer: "Nope, not the type, sister. We want an ingenue
with everything' you haven't got — pep, charm, looks, magnetism and
plenty of 'it' — " "Well — I wish you luck — I'm the scrubwoman!"
Thanks for the Tips, Madge
MISS EVANS GIVES FASHION TIPS
IN NEW PICTURE, "COURAGE"
HAVE you started thinking about it — what you will
wear this Spring, I mean? If you haven't and need
an inspiration — go see Madge Evans' new picture.
You will come nome with enough ideas for several
wardrobes. There s this white crepe sports dress, for
instance. It's summery looking, of course, but it points
out some new trends. Wide shoulders achieved by a
J cleverly crossed cape collar, high neckline, return of
two-piece effects, red as a trimming — and a straighter
silhouette. Remember these when you go shopping.
Madge's bob is the smart length, too.
BLUES are in again and that soft powder blue is
Madge Evans choice for the formal afternoon dress.
A horizontally tucked yoke finished with bow at one
side gives the desired wide shoulder look. Sleeves
draped gracefully at the elbow end in tight cuffs. And
tucking finishes the flared hemline. Mousseline de soie
.is the fabric. And as I said, you will see it in "Courage."
Wa tch For These Fashio
n
rUK v^/Nrbb are a popular style of the day.
They top such good looking costumes as this one
Loretta Young wears. Loretta's is black galyak worn
over a black broadcloth dress whose deep cuffs and
belt of the fur stress the ensemble idea. The cape
is cut with a flare, shorter in front than in back. Note
the narrow, standing collar.
MANNISH VEST— just one of the smart details of
this trim, tailored suit worn by Bette Davis in "The Feathered
Serpent." The short black wool jacket and skirt stress
straight lines.
NECKLINES are higher for daytime and
evening clothes. Even the jabot on Carole
Lombard's silk blouse is caught high at the
throat by a jeweled pin. Nice tailored felt hat.
Notes In Coming Pictures
CLOTH CArbb follow fur ones to fashion
triumphs. A separate one edged in fur to match a
dress like this one which Myrna Loy wears in
"Emma" is especially good. This is elbow length
and the fur is black Persian lamb. White pique edges
the square neckline of the black wool dress. Note
the back trimming on her brimmed hat — a Spring
millinery detail.
rLAILo are a good old Scotch touch that are livening
up many smart outfits this season. Judith Wood wears this
plaid suit in "Working Girls." The skirt, jacket binding,
tarn and tie are plaid — the jacket of blue suede.
I A/Vl effects continue to be popular. You'll
recognize this as a close-up of the one that
matches Judith Wood's plaid suit. A bow of
the material is placed high at the back.
THIS, my friends, is what is known as "back
interest" in the fashion lingo. Do I hear you
say, "And how?" It's a toss-up whether bathing
suits or evening gowns show the most back. Cer-
tainly Carole Lombard strikes a new low in this
evening gown. This is called the bathing suit
decolletage. Note the straps and the wrapped
hipline with fulness drawn to the back. Double
bows give the smart, old-fashioned bustle effect.
The fabric is one of the small flower patterned silks
that will be seen this coming season. You can see
the front of this in "No One Man!"
High and
Low !
EVENING GOWNS
SEE-SAW ON
NECKLINES
LOOKING at this high neckline you
wouldn't think Adrienne Ames could
truthfully say she hasn't "a stitch to her back"
would you? But like Carole Lombard s dress,
it's high in front and low in back. Again the
bustle detail, this time emphasized by a ruffle
in front, too. The pin high on one shoulder
and the earrings ^re a nice touch. Seen in
"One Hour With You."
The Unknown
Hollywood
IKn
ow
An old and never-published
snapshot of Gilbert and Gar-
bo in the flush of romance.
Greta liked to picnic alone.
Jack liked to go to parties.
So they picnicked alone
JACK GILBERT used to stride
into his outer dressing-room in the
morning and say to his secretary,
"If Miss Garbo calls tell her I'm
out!"
Forty-five minutes later, in make-
up, ready for the set, he would come
through the outer room and ask, "Has
Miss Garbo called?"
The secretary would say she had
not." When she does tell her I'm out! "
. At lunch time he would ask the same
question. And the secretary would
answer in the same way, "No, Miss
Garbo has not called."
"Get her on the 'phone," Gilbert
would say.
This happened time and time again
five and a half years ago when the
Gilbert-Garbo romance was at its height. It was typical of that
affair, which you may have called madness but which Jack
called love.
Jack worshipped Garbo — there's no doubt about that. And
she? Well, she gave him a cool, dispassioned regard. Thou-
sands of words have been written about that whirlwind court-
ship, but because I knew the leading characters I feel I
understand the situation somewhat. It is necessary to know
the lovers. Let's begin with Gilbert.
There are a lot of people who don't like Jack. I am one who
does. He was, at that time, one of the most tempestuous
young men who ever smeared face with grease paint. I've
talked to him by the hour — or rather I've listened to him talk.
I've watched him pace up and down his dressing-room begging
the cinema gods to give him a chance to do upon the screen
what he knew himself capable of doing. And, hearing him and
watching him, I, who am far from being placid, have felt like
a lummox of a char woman. So vigorous was Gilbert's per-
sonality, so terrific were his moods, so intense his passion for
life and art, that everyone who
came within eye or earshot of him
"Ah, such tender love
scenes," sighed Mr. and Mrs.
Audience. "Ah, such a smell
of onions," sighed Lew Cody
as he kissed Aileen Pringle
paled before the force of him.
When Garbo would
not love Jack Gil-
bert . . . When
Aileen Pringle enter-
tained Aimee Mc-
Pherson . . . The real
Lon Chaney
I remember once his describing
Clifton Webb and Libby Holman do-
ing "Moanin' Low" in the "First
Little Show." With such dynamic
charm did he play both parts, so
effectively did he get into the spirit
of the thing that when, a few months
later, I saw the number upon the
New York stage I was disappointed.
Jack Gilbert — who can neither sing
nor dance — had done "Moanin' Low"
better than Webb and Holman who
sing and dance exceptionally well.
Some thunderous god-like mad-
ness was imprisoned within Gilbert
and he was never able to release all
of himself successfully on the screen
— except, perhaps, in "The Big
Parade." Yet, temperamental and
emotional as he was, he had an abundance of boyish sweetness,
a great love for his friends and a deep capacity for being
hurt.
That is why I felt miserable when I, unwittingly, hurt him.
While I was still in the publicity department of M-G-M, Jim
Tully wrote an article that appeared in a national magazine.
I felt it unfair to Gilbert and, for the most part, untrue. I said
as much to Jack and added that it would give me a great deal
of satisfaction to see him punch Jim squarely on the nose.
Jack did not answer. I left the set feeling I'd spoken out
of turn. But when I got home that night I realized it was fear
of showing too much of himself that had made him turn away,
for a boy had delivered to my house an enormous box of roses
with a sweet note from Jack thanking me for fighting his cause.
We were good professional friends. He didn't care much for
interviewers, yet when I left M-G-M and went on Photoplay's
Hollywood staff, he always saw me whenever I wanted a quote
for a story.
And then he made his first talking picture which you all
remember, the picture that re-
vealed that his voice did not live
D J/~ ± 1 ' A J L i vealed that his voice did not live
Jjy Jxatlierine J± I Deri Up to his personality. I wrote the
65
story which was called "Is Jack Gilbert Through?'' It was
the first thing that had been printed about his failure. I
thought I was being kind to him. I said in the last paragraph
that I believed he had the spirit to come back and that a little
thing like a microphone wasn't going to down him.
Jack got the magazine late one night. He read the article.
Later I was to learn that he walked the Beverly Hills half the
night in anguish and that he contemplated sending me a wire
to read, "And thou, Brutus."
I wanted to see him and tell him that I had written my story
in good faith and thought I'd done him a kindness in treating
a fact that was before the eyes of everyone, as gently as
I could. But he wouldn't see me. Nor has he since. That
he was hurt, I am truly sorry, because I know how deeply a
person of his temperament can be hurt.
Well, there you have Jack Gilbert. Is it any wonder that
his imagination was whetted and his excitement fanned by the
slow moving, slow thinking, sloe-eyed Greta Garbo? Is it any
wonder that on that memorable day when they both appeared
for the first day's work of "Flesh and the Devil" and director
Clarence Brown introduced them (they had been on the same
lot for months but did not know each other) that the impetuous
Gilbert was instantly entranced by the lady iceberg's strange
charm?
HE adored her. He wanted the world to know it — and Jack
hasn't had many secrets from the world. He bought a yacht
(at great expense) simply because he thought she loved the sea.
He named the boat "The Temptress" for her and her second
picture. And then when some weeks later they were anchored
off the coast of Catalina and Jack invited some friends from a
neighboring yacht aboard only to have Greta refuse to see
them, he sold the thing (and took a big financial loss).
He called her "flicka" which means "girl" in Swedish. It's
a lovely word, isn't it? And when Jack said it, it became a
sudden sharp caress. He lavished upon her his great love and
affection, took her everywhere (and then took her away
almost at once when the party bored her, as it usually did).
He bought beautiful things for her and then took them back
and exchanged them when she didn't like them (as she usually
didn't). And when, as was natural, they would quarrel and
part — he wildly, she with indifference — he would storm into
his dressing-room and, thinking to chastise her, would tell his
secretary to say he was out when she called.
But Garbo never called. And Jack, tortured by her non-
chalance, would get her on the 'phone and try to make it up
with her.
But if Garbo cared for Jack, not a sign of it could be seen by
the casual observer. Garbo, you see, was used to the heavy,
sullen dominance of Mauritz Stiller. She could not appreciate
a bright will o' the wisp spirit like Jack Gilbert's.
At last, Jack was worn down by her indifference to him, his
friends and his love for her and the two separated. Jack married
Ina Claire. They said that Garbo was heartbroken. But
steel doesn't break easily.
THERE was another so-called great lover on the M-G-M lot
in those days. His name was Lew Cody. Some years before
Lew had been handed the title "butterfly man'' and it stuck,
to his horror and chagrin, for if ever there was a nice, kindly
man, a man liked by all men, it was Lew.
But his manufactured fame had gone before him and what
he suffered thereby nobody knows. Once a girl from some
college paper wanted to interview him. Lew asked her to
come to his dressing-room. She entered and looked furtively
about her. "Do you mean to say that I'm to be alone with
you, Mr. Cody?" she asked, casting a glance at the door.
Lew, startled, did not answer.
She rushed to the door. "Oh, no, I can't stay here alone
with you and your reputation." But she stayed and, I trust,
in spite of her nervousness, soon discovered that she was safer
than she would have been at the college corner drug store.
For certainly, Lew, being the man of the world that he was,
had no time for silly cub interviewers. But from then on he
was afraid of ladies with pencils and notebooks and fought shy
of them whenever he could.
It was with his roistering men friends that he had his best
times. And when he and Norman [ please turn to page 106 ]
Director: "Keep shooting Hell — Heaven won't be ready till 10:30!"
GG
Richee
Maurice Chevalier: "Did you see Jackie Cooper in 'Trie Champ' ?
Robert (Sooky) Coogan : "Yep, Wallie Beery was great!"
67
M
anon s
Phil
oso
phy
IT'S a strange thing — another
penalty of fame, I suppose — but
we are prone to believe what we
wish to believe about a girl like
Marion Davies. I had catalogued her
as definitely as a grocer does his vege-
tables before I entered this business.
I knew, as everyone in Hollywood
knows, she is charitable as I know that
spinach is green and good for growing
children. She was a renowned and
gracious hostess. Tomatoes come in
loose and solid-pack cans. She had an
infectious sense of humor. Canned
peas contain Vitamin A. She was the
most popular woman in Hollywood.
String beans are a best seller. She had the biggest house in the
city. Young's had the biggest grocery.
In fact, Marion Davies belonged to an inventory of fame
exactly as Mr. Young's merchandise belonged to his store-
inventory.
I even resented the woman a little. Why shouldn't she be
charitable and popular and humorous? She had everything.
If / had the same advantages; the same opportunities —
I don't know just when my
cold, impersonal summary of
Marion began to change to an
analytical interest. But one
day I found myself wondering :
Why is Marion Davies
charitable? Why is she popu-
lar? Did she inherit a sense
of humor from nature or did
she develop it to defeat
nature? Why can't I locate
just one person who really
knows her who will say one
unkind word about her,
when unkind words are com-
mon, even between friends,
in this jealousy-bound busi-
ness!
Perhaps it was the little
anecdotes I heard about her
or the happenings I, myself,
witnessed. Possibly it was
because I was now spending
all of my time with fame; be-
cause I began to understand
that as a name multiplies in
importance so must human
nature multiply in ability to
live up to the responsibilities
forced upon it.
WHEN a house-wife has
a hundred dollars a
month to run her home, she
need develop littlegenerosity,
shrewdness or intelligence to
dispense it wisely. But when
a woman earns a big income
she must be banker, judge,
salesman and politician. To
handle the hangers-on to such
a fortune necessitates a diplo-
macy as great as American
diplomats should develop.
I remember the time that
the train on which Marion
was returning from a northern
California football game
Many folks have philos-
ophies of life, but
Marion Davies is not too
lazy to work hers out
from day to day, says
Ruth Biery
Here is Marion Davies* mother with Marion and the
eight-year-old sister, Rose. When Marion was earn-
ing $18 a week she determined to buy her mother a car
and finally did — for $150 she saved. In this great story
you'll find out what happened to that auto
caught fire in the middle of the night.
The forward car was ablaze. She
slipped her feet into old mules, grabbed
a light kimono and a fur coat and
dashed several blocks away — out of
danger.
The sun was rising. It was cold.
The mother of Dick Berlin, magazine
publisher, had forgotten a coat.
Marion gave her hers. She stood on a
corner in Ventura, California, in her
kimono and dilapidated mules signing
autographs! She laughed and joked
with that humble oil population as
compatriotly as she meets crowned
heads of foreign countries.
But that wasn't what impressed me. It was the old mules.
Why did Marion Davies wear slippers which couldn't have cost
more than S2.95 and which should have been discarded a year
before, when she could afford a thousand pair of the most
ostrich-befeathered?
I discovered she always wears old mules. She hates new
ones; she hates expensive ones. She likes to wriggle her toes
in something which gives her a comfortable, homey conscious-
ness. Why? Because, in
them, she is Marion Davies.
One does not expect to be
courted, or introduced to
others-of-fame in bedroom
slippers. One feels safe from
all but oneself and intimate
with self. Those mules told
me much about Marion!
A short time before this is
written, Constance Ben-
nett wasmarried.EileenPercy,
ex-star and now newspaper
writer, was matron of honor.
I don't believe Eileen would
object to my saying that
money is not as plentiful to
writers as to actresses. She
was to wear black velvet. She
got out her dress. It was not
exactly the thing for a
Constance Bennett and Mar-
quis de la Falaise ceremony.
Eileen dashed to Marion's.
The two have been friends
for years; decorated the
Follies together. Marion was
to be at the wedding. She
had a new black velvet dress
which she had brought back
from Paris for it. She slipped
it on Eileen. All okay except
for the tiny half-sleeves.
They didn't look as well on
Eileen as they did on the
woman for whom they were
designed. Marion grabbed
scissors, snipped out the
sleeves, pinned back the raw
edges. Eileen dashed ahead
to the wedding.
Marion arrived in a black
dress (all the women were in
black velvet except the bride)
more than two years old. It
looked bad. Eileen gasped
and explained the situation.
68
"The days are so short. Yet life is just as short. You
might as well get all the fun you can from life just as you
get all the sunshine from the day, before life cuts it away
from you," says Marion. Here is the Davies girl with her
three favorite dogs, Gandhi, Patrick and Buddie
"I have some new black pajamas," Constance said. So
Marion attended the ceremony in part of the bride's trousseau!
Incidentally, after the ceremony, Marion saw men shivering
in the raw evening air beneath one of the windows. She
dashed out and discovered newspaper reporters. "Come in,"
she invited from the door of Director Fitzmaurice's home. One
of the boys hesitated and said something about not being
invited.
"Well, you're standing out here in the cold, aren't you?"
Marion retorted. "Come in!"
Five years ago, I wouldn't have believed these stories. But,
ancient platitude that it is, seeing is believing. I was de-
termined to ask her how she got that way.
Although I was her guest for luncheon, it took several hours
to really get to her. It was the second day of shooting on
"Polly of the Circus." There were so many others to see her!
Paul Block's son (Paul Block, the newspaper owner); an army
officer; secretaries with letters; her old friend, Harry Crocker;
Al Santell, her director; producers; publicity people.
Incidentally, I didn't know it then but I learned later that
leading-man, Clark Gable, had just taken a page from Greta
Garbo's book and gone home to await a raise in his $850 a
week salary. To face the possible loss of a leading man on the
second day — I wonder why she didn't throw up her hands and
screech at us.
When she finally waved them away and invited me into her
dressing-room on the set, she dropped with an involuntary sigh
into a chair behind that closed door, and said: "Don't you
think it would be nice if I talked to you of other actors? You
know I used to imitate Mary Pickford. Wore long curls; tried
to be exactly like her. She's the only one I have imitated, but
I know them all so well. Don't you think it would make a
different story?"
I could have shaken her; really, I could. Trying to throw
her interview to others; trying to blockade my attempt to
make her talk of herself!
I held my ground. I asked her my questions. I don't
remember the order in which I put them. They just came
out in one big jumble.
She sat perfectly still when I had finished. I looked at her —
thought she was going to cry. She didn't. But when she
finally answered, she spoke very slowly.
"I have a little theory about life. I call it, 'Another Day.'
I hate nights. They are dark and long and so awfully dreary.
There have been times when I did not think I could live
through certain nights. I have wanted to die. Then, when it
was morning — when the sun rose or the light seeped through
clouds and I could see trees and grass and sometimes flowers
or perhaps only other buildings, I've jumped out of bed and
said, 'Oh, another day!' The terrible part had gone; night was
over; day had come again!" [ please turn to page 105 ]
69
Whom Would lou L
e av e
I HAVE, with the help of seven other
courageous persons, picked out of the
twelve players, four to die in the desert
of Public Opinion. Three men and five women
voted and here are the results:
Player
Greta Garbo
Clark Gable
Lupe Velez
Clara Bow
William Haines
Joan Crawford
Marlene Dietrich
Gary Cooper
Constance Bennett
Nancy Carroll
Robert Montgomery
Jean Harlow
Save Leave to Die
I suspect that there are several surprises in
the above listing. Nancy Carroll lost three
votes by her very rapid marriage after the
divorce. Joan Crawford was trying to imitate
Constance Bennett and other stars and not be
herself in the past two pictures, so she had to
lose four votes. Constance Bennett is too hard
and not attractive enough to hold with both
men and women. Jean Harlow has too much
sex with a capital S. Lupe Velez is not well
enough known and when one sees her she leaves
no great impression. You will notice that
Greta Garbo and Robert Montgomery pass
with flying colors. Garbo is a truly great
actress and Bob Montgomery leaves with a
smile. Garbo is the sorrow and sympathy of
life, while Robert Montgomery is the joy and
vigor.
I wonder what would have happened if
Charles Farrell and Janet Gaynor were in-
cluded in the list. I know of three nersons who
do not like either one of them. But then we
cannot judge by merely three.
James Gartlan, Toronto, Ont., Canada
THAT dilemma stunt is good stuff, but why
not let the stars cast lots for who should go
and who should stay?
I would rather have the chance to save one
Ann Harding than all the rest of the crowd put
together. She is a real woman both on and off
the screen — one a man would risk his life to
save.
How many others can claim as consistently
good acting as Ann? Not one of them.
Granted that they are all good box-office
attractions — but who cares?
Tom Mitchell, Michigan City, Ind.
WELL, Nora Myers sure started something
when she listed twelve stars and asked
us to save eight and leave four to perish.
But here's my choice anyhow:
I'd leave: Greta Garbo — she's too thin and
I don't like her accent.
Jean Harlow — she doesn't wear enough
clothes.
Constance Bennett — she's too snippy.
OOCH! Photoplay recently, with
innocent intent, published a letter
from a Detroit reader who had just
been looking over Simon and Schuster's
""Hook of Dilemmas," and she put this
dilemma up to PHOTOPLAYS audience.
"Lost in the desert were the following
twelve stars:
Greta Garbo
Clark Gable
Lupe Velez
Clara Bow
William Haines
Joan Crawford
Marlene Dietrich
Gary Cooper
Constance Bennett
Nancy Carroll
Robert Montgomery
Jean Harlow
"You can save eight, and leave four
behind to perish in the desert. Which
ones would you save?"
A few days after the magazine ap-
peared on the newsstands, the mail
carriers started to come into PHOTO-
PLAY'S offices laden with heavy sacks
of letters. It seemed that everybody
wanted to get in on the game.
One thing it proved was that every
star named has a heavy fan following.
But the game is ended, so don't send
in any more letters.
Nancy Carroll — -she hasn't made a good pic-
ture in ages.
I'd save all the men — they're swell, and
Lupe Velez and Clara Bow are full of pep.
Joan Crawford's such a good actress I'd save
her and Marlene Dietrich's better than Garbo
any day.
Lucile Mae Andrews, Chicago, 111.
MAY a picture fan of years' standing voice
his opinion about the various stars to be
either saved or left to perish in the desert?
After careful consideration this is my decision:
Certainly Greta Garbo should be saved be-
cause she appeals to the imagination of the
masses and brings delight to many hearts.
Clark Gable also should be saved. This is not
my personal opinion because I do not consider
Mr. Gable a versatile actor but I feel I should
include him since so many young women
throughout the country find him interesting.
Robert Montgomery is another who comes in
this category and should be saved. Also Lupe
Velez, William Haines, Joan Crawford, Gary
Cooper and Nancy Carroll, for each of these
has contributed something really worthwhile
to the screen and has proven that he is not a
fad of the moment.
Most assuredly Jean Harlow, who gives
shocking portrayals of the modern girl, should
be left to perish. Clara Bow has served her
time as a silent film star and has nothing to
give the audible screen, whereas Constance
Bennett with her extravagant clothes, instils
false ideas into the minds of young women.
Both of these should be left behind. As for
Marlene Dietrich, we have Miss Garbo and
there is no room for imitators.
Willlvm R. Landerson, St. Paul, Minn.
T CONCLUDE, after reading Nora Myers'
-*- letter in the December Photoplay, I would
rescue —
Greta Garbo:
Clark Gable:
Clara Bow:
Joan Crawford:
Gary Cooper.
Robert Montgomery
Room for two more-
And these six perished
Lupe Velez:
She inspires.
What-A-Man!
She has been lost too
long.
I don't like her pic-
tures. She does try
hard, though.
Every youngster's
"Big Brother."
What would Norma
do without him?
-well I might meet
Richard Arlen and
Helen Chandler on
the way back, and I
couldn't leave them.
William Haines:
Marlene Dietrich:
Constance Bennett
Nancy Carroll:
Jean Harlow
Too many others that
are like her.
Ho-hum.
Why save her? She
makes so few pictures.
I'm afraid she might
be too "bored" on
the return trip.
I v> is her most ardent
fan. I read a story in
another magazine of
how much her mar-
riage, husband and
daughter really meant
to her. Before the
last installment of the
story appeared she
took another man.
"Night Angel" and
"Personal Maid" were
flops, why? — well,
why not?
: They say either you
like her or you don't.
I don't.
Oxe of the "Audience"
WE surely had fun trying to figure out
which stars we'd save and which ones
we'd leave behind in the desert. And it also
caused a family argument. There are five in
our family and each one of us had a different
bunch to save and different reasons. But one
thing on which we all agreed was that we could
leave Jean Harlow behind. She could get along
very well in the desert because she wears so
little clothes, anyhow. Seriously, my younger
brother and sister both wanted to sa%'e her,
but mother and father and I didn't.
70
A T^ffm JF*^ -^^
IJehind In 1 he U
e s e r
t?
We never did come to any real conclusion
but we surely had a lot of fun talking about it.
Anna Sieber, Salt Lake City, Utah
IN trying to solve the dilemma puzzle that
was published in your December issue I came
to this conclusion. It's just my personal
opinion, but maybe some people will agree
with me.
I'd leave behind Joan Crawford, Constance
Bennett, Marlene Dietrich and Clark Gable
because in these days of depression we don't
want people who take themselves too seriously,
and all these stars seem to do that. What we
want is people who will amuse us and not try
this heavy acting stuff.
Of course, Garbo does heavy acting but she
is in a class by herself and if left behind
I guess 15,000 fans would come looking for me
with shotguns. Anyhow, I like her myself be-
cause she is a truly great actress. Lupe Velez,
William Haines, Clara Bow and Robert Mont-
gomery are all good comedians. Jean Harlow
is so full of pep she makes you feel better just
to look at her and Nancy Carroll is my idea of
a pretty girl, so I couldn't leave her all alone
in that big desert. Gary Cooper I'd save if he'd
promise to make a lot more of those fine
Westerns.
James Delaxey, San Francisco, Calif.
IN the December issue of Photoplay, Nora
Myers of Detroit sent in a list of twelve stars,
and said to pick out eight. Which would you
save? I shall list them with my opinion:
1. Greta Garbo — too perfect. She would make
a good show-window model.
2. Clark Gable — dislike dimples on a man.
He sure has them.
3. Lupe Velez — is fair. Give her a modern
American part and she will be one hundred
per cent.
4. Clara Bow — leave her in the desert.
5. William Haines — is okay with me.
6. Joan Crawford — one hundred per cent
good.
7. Marlene Dietrich — leave her in the desert
or Germany.
8. Gary Cooper — the desert for him.
9. Constance Bennett — I hear the Sahara
calling her.
10. Nancy Carroll— face too round and pic-
tures too dull.
11. Robert Montgomery — applesauce.
12. Jean Harlow — just plain platinum.
My personal choice over all stars would be
the team of Barbara Stanwyck and Jack Holt.
Wouldn't they make a real picture? Why
don't they star this she-woman and this he-
man in the same picture?
Walter Siems, St. Louis, Mo.
T'M only a "star gazer" and you're a "star
■•-raiser," but last month I was disappointed in
you. When one of your readers wanted to
know if twelve of Hollywood's most brilliant
stars were lost in the desert, and it were pos-
sible to save only eight, which ones we would
rescue, you told us you have troubles of your
own, and for us to settle this over the bridge
tables.
For an old student of astronomy, who
knows his stars, this was a decidedly poor
answer. Do you, who help hang out the stars,
realize what our reaction would be if we knew
that these stars would never again shine?
My solution would be to leave Clark Gable
and Joan Crawford — not that they're less
vital than the others — but you know that
" what-a-man " would find a way out for " such-
a-woman." Then too, it would be romantic to
leave Gary Cooper on the sands with Lupe
Velez. They might see each other as they did
before Hollywood came between them.
Guy Wadsworth, Dayton, Ohio
"L_TERE'S the way I'd solve the desert di-
■*- -Memma. These are the ones I'd save and
the reason for doing so:
Greta Garbo — because of her performance
in "Anna Christie."
Clark Gable — because of his performance in
"A Free Soul."
Lupe Velez — because of her sweet singing
voice in "The Cuban Love Song."
William Haines — because of his performance
in "Brown of Harvard." (It's an old picture
I know, but the best thing Bill ever did.)
Joan Crawford — because of her work in
"Paid" and not because of "Possessed."
Marlene Dietrich — because of her perform-
ance in "The Blue Angel."
Gary Cooper — because of his beautiful walk
in "The Virginian."
Nancy Carroll — because of her performance
in "The Devil's Holiday."
These are the ones I'd leave behind and the
reasons :
Clara Bow — because of her voice in "Kick-
In."
Constance Bennett — because of her per-
formance in everything!
Robert Montgomery — because of his vapid
smile.
Jean Harlow — because of her clothes (or
lack of them) in "Hell's Angels."
Betty Mount, Denver, Colorado
A BOUT choosing which stars I would save
■*Mrom the desert and which I would leave
to perish — ! My idea of an act for the sake of
the movie humanity would be to leave Mar-
lene Dietrich first, Constance Bennett second,
Lupe Velez third and Jean Harlow fourth.
After all, one's opinion is one's opinion.
And, by the way, save Clark Gable by all
means. His is a rare personality. He's just the
type for the incomparable Garbo. Let's see
more of the two together.
Bertha Robinson, Los Angeles, Calif.
GEE, Nora Myers sure gave me a tough job,
but I'd rather do this choosing than play
three-handed bridge.
The four to be left probably would buy the
island and make their own pictures. The
camera — ever see a bunch of stars without a
camera? Anyhow, they couldn't get so many
brickbats unless the monkey in the tree, the
cannibals, the elephant and the giraffe could
write. So why worry?
My eight to be released from the desert
island are:
Greta Garbo — who'd leave the great Garbo?
Clark Gable — ah no, sigh the ladies.
Joan Crawford — what would we do without
our dramatic Joan?
Marlene Dietrich — what, no legs?
Gary Cooper — I like these Western horse
operas.
Constance Bennett — who'd collect her thirty
grand for her?
Robert Montgomery — who'd take John Gil-
bert's place then?
Clara Bow — aw, give the little girl a break !
Then I'd let "suffer and die":
Lupe Velez — aw, just because.
William Haines — I could do without his
wisecracks.
Nancy Carroll — not so hot of late!
Jean Harlow — she's pretty but as an actress
— well, let's go see "Schnozzle" Durante.
Well, there you are, and who cares?
Richard O'Connell, Long Beach, Calif.
BELIEVE me, there just wouldn't be any
dilemma for me if I had to rescue eight of
those beauteous babes from the sands. I'd
leave the boys to build castles in the sands by
themselves and go off with a harem that
would make any desert chief sick with envy.
Imagine sand, stars, and sun with Greta
Garbo, Marlene Dietrich, Constance Bennett,
Nancy Carroll, Clara Bow, Jean Harlow and
Joan Crawford. You imagine it — I'm weak!
James McCann, Montreal, Canada
THE other night I was reading your De-
cember issue and got mighty interested in
this dilemma thing. I don't get to the movies
very often because I'm a forest ranger — but
when I do I want to be entertained.
Now, I couldn't save any of them from the
desert, but if I had to save them from a forest
fire — here's what I'd do.
Lupe Velez would go out first— she's a wild-
cat that I wouldn't mind taming.
Clara Bow, Nancy Carroll and Jean Har-
low are neat little tricks. Sure I'd save them.
Gary Cooper is the type of fellow you find
in the timber country — save him.
Clark Gable gets all mixed up in these sex
stories but that isn't his fault — he looks like a
he-guy to me.
Joan Crawford and Greta Garbo are both
eyefuls even when they go dramatic on a fellow.
I'd give them a break.
Constance Bennett is one of those society
high-hats that may interest a man for a while
but he'd soon get sick of her.
As for the other three, they're all right but
I wouldn't ride a mile to see them.
Jake Jones, Portland, Oregon
[ PLEASE TURN TO PAGE 100 ]
71
Lome With Us And r eek Into
"A perfect idea if
you haven't much
money. Have
several different
vestees, all de-
tachable, for the
same dress. The
snapper method
makes this as easy
as starting a Hol-
lywood rumor"
"Here's the front
view of that white
dress. See how
the piping and
embroidery con-
tinues? That open
V is an absolutely
new idea"
"I've not gone platinum blonde," says Lilyan Tashman.
"That's a white feathered turban I'm wearing. The
dress, a formal one for dinner, is a white satin tunic
over a black skirt. And I simply adore the back detail.
The opening is outlined with black satin piping and gold
embroidery. Don't you love it?"
72
"When you take off
this beret don't
take off the veil.
It's worn under-
neath"
"The other side of
this beret must be
worn this high on
your head. Yes, I
mean it"
Lii
ya
n s
lJrand lMew W ardrob
e
"If you don't like this outfit you'll break my heart.
Dark green tweed dress, light green coat and the
bag of the same material. Beige angora hat.
Tricky? I think so !"
"A gray felt and
silver beret that can
be 'whooshed' over
to suit any head.
Just grand !"
"You can pay 25c or
$50 for berets like
this. An instant
solution of your hat
problem"
"This is one of my favorite favorites. It's a knitted
material. Red, white and blue, a combination I adore,
with stripes running as madly as a producer with a
story idea. Collar and belt are leather in red and blue.
The shoes are dark suede; the gloves, white suede.
Isn't it a peach?"
73
Screen stars know that
the hair line can make
or mar facial beatit\.
Learn their secrets
H
air
T
ric
k
Th
at
Is yours a long, thin
face? Or is it a round,
wide one? Look in
your mirror. Study
these pictures. Then
see what a comh and
brush can do for you
Would you believe a hairdress could do so
much? Here's Tallulah Bankhead looking
like two entirely different people in the
pictures above and to the right
B
'ARDLY a day passes that my mail
does not bring in a dozen or so let-
ters asking me what can be done to
"change facial contours. Sometimes
there will be letters from girls with long, thin
faces and high foreheads. Often it is the
problem of what to do for the girl with a
round and too wide face.
Most of these girls realize that their per-
sonalities could be enhanced if they knew the
right thing to do about their make-up and
hairdressing. And that's true. Since nothing short of facial
surgery can be done to change the bony construction of the
face, it is necessary to do tricks with hair and make-up which
will counteract the disturbing length or width.
Perhaps there is no place where these little tricks of grooming
are done more skilfully than on the screen and stage. By a few
deft touches, a perfect siren type can transform herself into a
demure school girl to fit a role. And vice versa. Costuming, of
course, plays a big part, but you will find that the real trick is
turned by hairdress and make-up.
Just to show you how easily face values can change, I have
selected photographs of several stars. Two of each — I want you
to study them to see just what the changes of hairline can do for
the entire contour of the face. Not to mention what an eye-
brow line or lipstick can accomplish!
Take Greta Garbo, for instance. Greta has the high brow
and long face of the Nordic. There is width to the high cheek
bones but not enough to counteract the general length of the
whole face.
In " Susan Lenox," Greta chose a new hairdress which suited
her portrayal later on in the picture — that of the gay, sophis-
ticated woman. Soft bangs cut down the height of her fore-
head, a longer bob fluffily curled about the face gave an oval
74
Greta Garbo as in "Anna Christie." Lovely, but so plain
— every feature is brought out by the severe haircut
Cfe
a ng
e
I our r
ace
By Carolyn
Van Wyck
Friendly Advice
on GIRLS' PROBLEMS
Don't forget to enclose a stamped, self-
addressed envelope when writing me for
booklets or personal advice.
I will answer questions on personal
problems about hair, correct colors for
your type and shades in make-up. Ask
also for my booklet of normalizing exer-
cises and non-fattening menus. My
complexion leaflet gives general advice
on the care of the skin with specific
treatment for blackheads and acne.
Address Carolyn Van Wyck at PHOTO-
PLAY, 221 West 57th Street, New York
City.
long bob. Don't part your hair in the
middle, rather give it a deep side part.
Let soft, deep waves and curled ends
shorten the face and give it width.
In making up, apply your rouge up-
ward and outward toward the ear tops.
Bring it under the eyes and slightly over
the lids. This will give you width
through the eyes and temples, thus
shortening the whole face.
Look at the two pictures of Tallulah
Bankhead. Did you ever see two such
distinctly different personalities achieved
■■* ■***%**.%
Garbo, the glamorous, as she was in "Susan Lenox." Soft
bangs, fluffy hair, and an almost piquant personality!
Who would think that Loretta Young,
above and to the left, has a facial problem?
Yet she has to guard against an elongated
jaw line registering in pictures, as above
by one person? In one she looks like a
bored, disillusioned woman. The heavily
rouged mouth; the unevenly cut, long wisps
of hair and the heavy eye make-up.
In the other picture she looks like a young
debutante. The neatly dressed hair tucked
back of the ears and the lack of heavy make-
up has refined her features. And note how
much rounder and shorter the face looks.
Tallulah's mouth seems full and drooping
with the lower lip so heavily stressed — yet it
is rather large, generous and sweet with the make-up more
evenly applied.
If your mouth is thin-lipped you can make it look fuller by
carrying the lip rouge to the upper and lower edges but not to
the corners of the mouth. But if it is full-lipped, center the
color and let it fade out toward the edges.
Sylvia Sidney's face would seem quite broad if she were not
so careful about arranging her hair and make-up. She parts her
hair in the middle, drawing it back in smooth waves. When she
uses rouge, she works it toward the center and shades it in to-
ward the nose, to make her face seem narrower. A touch of
rouge on the end of the chin will tend to lengthen a round face.
At a recent meeting of the Philadelphia Club of Advertising
Women, the president remarked that, " Cosmetics are as much
a necessity as tooth paste." And one of her colleagues at the
same time said, "Rouge, powder and lipstick are psychological
necessities."
So you can see how important good grooming is to both your
mental and physical poise. If you can present a charming face
to the world, you will be fortified within to meet any situation,
no matter how trying it may be.
Loretta Young has to be careful not to look a little long-
jawed. She achieves a piquant [ please turn to page 126 ]
75
The leading characters
in a Hollywood real life
mystery story. Mar-
lene Dietrich, whose
chief interest in life is
her child M aria, Rudolf
Sieber, Marlene's hus-
band, and Josef Von
Sternberg, the figure
in beret, who has
moulded Marlene's
character as a sculptor
moulds clay
Will Marlene Break
1 he Spell?
By Kay Evans
The story of one of the
most curious off-screen
dramas ever enacted in
Hollywood. How a ten-
day quarrel may change
the entire life of one woman
IT was a small, intimate Hollywood party. Everybody was
having a good time, like kids on a holiday. It was all in-
nocuously innocent and if you've never seen a Hollywood
party, you don't know just how much nonsensical, silly,
funny clowning goes on.
The person who was having the most fun was Marlene
Dietrich. That strange, exotic face you've seen on the screen
was wreathed in childish smiles. She could think up more silly
stunts to do than any of the others. And she greeted every new
game proposed with wild enthusiasm.
Suddenly she looked up at the door. The smile froze on her
face. She sat down instantly and a curtain was pulled across
her eyes. The mask she wore so immediately was the mask she
wears in her films.
The others saw the sudden difference in her. They turned to
the door seeking the reason for her brisk change.
Josef Von Sternberg had entered the room!
And that is an incident that illustrates one of the strangest
real life stories ever enacted in Hollywood — a drama fraught
with the weird sensationalism of a mystery play.
The relationship that existed between Greta Garbo and
Mauritz Stiller has been compared to that of Trilby and
Svengali. The analogy is not quite accurate. Garbo loved
Stiller.
The real Trilby-Svengcdi story, almost word for word as Du
Maurier wrote it so many years ago, is being played by Marlene
Dietrich and Josef Von Sternberg.
And now there's a new chapter to add. This chapter con-
cerns the struggle of Marlene to get out from under the Von
Sternberg influence. And the struggle of Dietrich's friends to
help her shake off the hypnotic spell.
Marlene is like Trilby in that she does not love Von Stern-
berg. Yet when her friends say, " If he keeps on directing you,
making you play the same role over and over again, giving you
76
the same mannerisms, your career will soon be all washed up,"
Marlene answers, " No, he is the greatest genius of the screen."
Professionally he has sold her the bill. Personally not at all.
But not long ago a strange thing happened. Marlene walked
into the Paramount lunch-room alone. She and her grim
shadow, Josef, had lunched together every day that she was at
the studio since her arrival in Hollywood. Her sudden alone-
ness, therefore, made Hollywood shake a puzzled head. They
had quarreled — Trilby was chafing at the Svengali dominance.
For ten days they were not seen together. Those ten days
may preface the complete change in a woman's character.
THERE was a young German actor who comforted Marlene
during this time. There was also Maurice Chevalier, whose
constant society Marlene sought. They lunched together and
they danced together at the Ambassador Cocoanut Grove.
What is more, they laughed together — a thing she never did
with Von Sternberg.
At first it seemed a friendship merely, and those who had
Marlene's best interests at heart were delighted that she was
being a human being and not the automaton that Von Stern-
berg had made her.
She and Chevalier had their pictures taken together by a
Paramount photographer. Suddenly all these pictures were
recalled and destroyed. However, Photoplay printed one of
them.
But for ten whole days Marlene was free — free from her
Svengali.
In order to understand the strangest of all strange Hollywood
relationships, it is necessary to understand the two protagonists
in the drama — Marlene and Von Sternberg.
Von Sternberg is the more important since Marlene, the
Marlene you have known, is- a figment of his imagination.
Clive Brook recalls that years ago [please turn to page 103]
Photoplay Magazine for February, 1932
77
%■*
renc
Wh
nanHB@gBBHBi^HSffi8
cnrnw£ b b s &
*■<>■*
/hat is the truth? Are
Frenchwomen more attractive
than American women ?
"Most certainly not, " says Mrs.
Cabot. "But . . . Frenchwomen
are clever! They are expert in the
art of make-up and are always
fresh and charming because they
think nothing of renewing their
make-up half a dozen times a day.
"Each time they cleanse their
skin completely. . .They rarely al-
low water to touch their skin, but
prefer cold cream for cleansing.
"This lavish use of cold cream
is a new reason for appreciating
an old friend — Pond's.
'Not only is Pond's Cold Cream
the purest and best for cleansing
— but it is so economical it rec-
onciles French chic with a New
England conscience.
"Another little nicety of the
French toilette," Mrs. Cabot tells
us, "is the use of vanishing cream
as a foundation for make-up. How
subtly rouge and powder may
then be blended!
"I have a dry skin, so I find
Pond's Vanishing Cream ideal!"
Follow these four steps for the exquisite
care of your skin :
1. Amply apply Pond's Cold Cream for thor-
ough cleansing, several times daily, always
after exposure. Let the fine oils sink into the
pores and float all dirt to the surface. At bed-
time, repeat this cleansing to remove the day's
accumulation of grime.
2. Remove with Pond's Cleansing Tissues,
eron
omen <
""James J
Cabot
"The longer I use Pond's four preparations,
the better I like them," Mrs. Cabot says.
softer, more absorbent . . . white or peach.
3. Pat briskly with Pond's Skin Freshener to
brace and tone, close and refine the pores, firm
contours, promote fresh natural color.
4. Smooth on Pond's Vanishing Cream always
before you powder. This disguises little blem-
ishes and forms a lovely velvety finish. Use not
only on your face but wherever you powder —
neck, shoulders, arms . . . And it is marvel-
ous to keep your hands soft and white.
Tune in on Pond's program, Friday evening 9:30
P. J/., E. S. T. Leo Reisman and his Orchestra
and guest artist. WEAF and N. B. C. Network.
SEND 10?f FOR POND'S FOUR PREPARATIONS
pond's extract company, Dept. B
114 Hudson Street New York City
.Va me
Street.
City-
.Stale.
Copyright. 1932, Pood'* Extract Company
78 Photoplay Magazine for February, 1932
STAY YOUNG WITH
"Of course I am 39*
"Years matter so little nowadays if a
woman knows how to take care
of her complexion.
"Every actress knows that regular care
with LUX Toilet Soap will do wonders
for her skin.
I am among the scores of the profession
who use it regularly."
(Zv*~^*~p
Screen stars never look their age! Why not? . . . Because, like Frances Starr,
they keep their skin youthfully lovely with Lux Toilet Soap.
9 out of 10 Screen Stars use it . . .
Of the 613 important actresses of Hollywood, including all stars, 605 care
for their priceless complexions with Lux Toilet Soap. Long ago this fra-
grant white soap was made official in all studios for their convenience.
Start today to give your skin this safe, gentle care.
LUX Toilet Soap_IO
I
tt
Photoplay Magazine for February, 1932
79
BANCES OTARR
Frances St arr, famous Bel-
asco star, is now winning new
laurels on the screen. Years of
hard work have left her youth-
ful charm as vivid and appeal-
ing as when she was a newcomer.
It's All Done With S
cissors
IN this democratic land
every American girl has
the opportunity to go
into the movies and marry
the Marquis de la
Coudray. — Howard Br.tt-
baker in The New Yorker.
" A T 40 a man should be
•**-able to do everything
he could do at 20 — and
do it easier and better. " —
Douglas Fairbanks.
SALARIES of Holly-
wood picture stars are
to be cut 10 to 20 per cent.
In many cases the incomes
of screen actresses will be
reduced so much they
won't know where their
next divorce is coming
from. — //. /. Phillips in
the New York Sun.
POSSESSED" is cal-
culated to have a more
disastrous effect than
most upon morally mal-
leable persons who wit-
ness it. — Time.
Producer — Go out and get me somebody with Garbo's glam-
our, Dietrich's legs, Dressler's humor and Chatterton's voice
Yes-Man — Yeh, you must mean somebody like Jackie Cooper
'""THERE are two dis-
*■ tinct people: the Jean Harlow that's Me, A CURRENT cause for philippics a
ind the Jean Harlow I see on the screen. ■**■ the star system is the fact that one :
PERHAPS Hollywood is
■*- dull, as many insist,
but it is difficult to under-
stand how anyone can
view without interest and
excitement what is the
"other world" for millions
of men and women. This,
you keep telling yourself,
is actually more influen-
tial than Washington, has
empire over more minds
than have churches or
schools or newspapers, is
the imagination of the
multitude. — Anne O'llare
McCormick in the New
York Times Magazine.
"TF I feel inclined to be
-'-a bit careless or hurried
while dressing, I stop to
think that perhaps this
one time I may meet some
one who knows me only
slightly ... I think of
the let down, the disap-
pointment that person
must feel. So I never risk
it. The opinion of even
one person is important."
— Norma Shearer.
I'm tired of being that girl. Fans, particularly
feminine picture-goers, hate her. I'm be-
ginning to hate her myself.
"I wore a low-cut gown, and overnight I
became a hussy. And I don't blame them.
"I don't know a soul in New York. In
fact, I think I'll advertise for some eligible
young man to take me dinner-dancing. I'll
convince the public that I'm a nice girl if I
have to go out and buy some long underwear,
spectacles and a black wig." — Jean Harlow in
(in interview in Variety.
""PVERY year, the screen is becoming more
-'—'important as a fashion medium. But in
imitating screen styles, women should realize
that screen stories are still scaled to pretty
high tempo. They must be able to differentiate
between artificiality and reality, analyze the
stars and their situations before they attempt
to apply their clothes to their own lives." —
Mayme Obcr Peak in the Ladies' Home Journal.
"HTHERE'S a flock of real people in Holly-
*■ wood, but there is also a mob who just
don't fit. Just because they draw down heavy
money, they assume they are regular. I
learned to be regular when I was broke. Those
who are regular are okay with me. It's the
people who are always putting it on that get
my goat. If they only knew how to put it on
properly they'd be a lot better, but their swank
is too phony for this gal." — Marie Dressier
in Variety.
•"THINGS I Never Knew Till Now— That
■*• there are more people living under assumed
names in and near Hollywood than there are
in Sing Sing and Joliet combined. — Walter
Wim hell.
'""THE actor never contributes more than ten
*■ or fifteen per cent to the success of any
play or picture." — Douglas Fairbanks, Jr.
80
ainst
rather
emaciated, colorless blonde of no particular
talent or distinction is earning $30,000 weekly.
This, you hear outraged outcries on every side,
is ridiculous: no one is worth it. "Why, she
makes more in a month than the President
does in a year!"
Perhaps — but Connie Bennett has given
more pleasure to more people in one day than
President Hoover has during his entire term. —
Clare Boolhe Brokaw in Vanity Fair.
con-
dis-
TUDGING her (Greta Garbo) coldly the
J elusion would be that she would flop
mally trying to be a second Bernhardt. —
Florabcl Muir in the N. Y. Daily News.
\_7T\TENXE OSBORNE, Paramount con-
» tract player, dates her enthusiasm for the
movies to her school days in Spokane, Wash.
She wrote fan letters to her favorite players,
collected autographed photographs of the
reigning favorites and ardently read fan mag-
azines and picture columns. — The Film Daily.
"T OCAL Boy Makes Good" (First National "T WILL love Gary always, fore
'-'Picture) is the familiar anecdote about a -»■ will I be able to love any one so
bespectacled and dazed collegian who, to his
own surprise and the chagrin of his cronies,
succeeds in an amorous enterprise. — Time.
X_rE is something of a monstrosity, this
•'- -^-Jackie Cooper, because he doesn't show
off or ape his elders. — Pare Lorentz in Judge.
"LJOLLYWOOD puts everyone on the spot!
■*■ '•No matter how famous the actor or actress,
writer or director, once he or she joins the
colony certain rules have to be followed.
The three cardinal principles laid down are :
"Play the game our way, or get out."
"Talk our language and if you can't, then
learn it."
"Laugh with us, not at us." — El-.a Shallrrt
in the Los Angeles Times.
"PRANKEXSTEIN" is proving to be the
*■ marvel of 1931, shattering records every-
where. They say Carl Laemmle, Jr., is trying
to end the depression by scaring everybody to
death. — Florabcl Muir in the N. Y. Daily News.
TN examining prospective jurors (for the Jack
-'■"Legs" Diamond trial) chief defense counsel
Daniel H. Prior asked whether they had seen
motion pictures involving gang wars. When
they answered in the affirmative, Prior ex-
cused them. — United Press Dispatch.
ver. Never
any one so much again.
I was happy with him. But I'm a little crazy.
Marriage is not for me. I want my freedom.
That is more important than anything. I
stopped loving Gary, that's all." — Lupe Vela.
TQ ROADWAY in general and the first string
'-'critics fn particular were shocked after view-
ing the new D. W. Griffith production, "The
Struggle," at the Rivoli Thursday night.
The picture is rated the poorest and most
amateurish effort in a season that has witnessed
many bad productions. Many of the critics
have rung the curtain down on "the old
master" as a director and claim this moral
lesson of the evils of drink as shown in "The
Struggle" is the worst direction seen here-
abouts in years. — Hollywood Reporter.
"TT would have been more logical if silent
■'■pictures had grown out of the talkie in-
stead of the other way round." — Mary Pick-
ford in New York Times Magazine.
CONSIDER the most humdrum person of
your acquaintance and you probably will
be able to tag him as an inveterate patron of
the movies, loud or silent. Lacking romance
in real life, he gets it by watching Greta Garbo
in the moonlight and seeing Douglas Fair-
banks jump over gates. — Hcywood Broun, in
the World-Telegram.
Photoplay Magazine for February, 1932
"LOOK HERE, EM!
Our family could
save $18 a year
on Tooth Paste
//
ith six of us in the
family, each using a tube of 50j£ tooth paste a
month — we're spending #3 a month, 336 a year.
If we changed to Listerine Tooth Paste, at 25^
a tube — we'd save 318 a year, just on that one
item.
"Economy isn't the only reason for changing,
either. The Vandergriefs use it, and they could
afford to pay any price.
"Lillian Vandergriefs teeth are as perfect as
any you ever saw. And she told me her family
uses Listerine Tooth Paste because it does a bet-
ter cleaning job than any other brand they've
tried.
"In fact, I'm sure our teeth would be helped
as much as our budget — and you can see that
means plenty!"
Teeth So Clean They Surprise You
If you want to know how clean and bright your
teeth can be, begin using Listerine Tooth Paste.
Its results will be a revelation to you.
This is especially due to a remarkable special
polishing agent. It works wonders on your teeth,
in half the usual brushing time.
Tartar, tobacco stains, and every other dis-
coloration, vanish entirely. Dirt and decay are
gone. Your teeth gleam with all their natural
brilliance.
Yet your tooth enamel cannot be scratched or
damaged in any way. Powerful as this polishing
agent is, it is scientifically gentle in action, and
protects your teeth.
And you will be delighted, too, with the fresh,
invigorated after-taste it leaves in your mouth.
You Gain By Our Economies
We can give you such an unusual dentifrice, at
such an unusual price — for two reasons. First,
we use the most modern and efficient methods of
manufacture and distribution. Second, the de-
mand is so great that production is on a huge,
cost-cutting scale.
Over four million people, in just nine years,
have become steady users of Listerine Tooth
Paste. Try it, and its economy and cleansing
power will surely make a regular customer out
of you. Lambert Pharmacal Co., St. Louis, Mo.
FOODS
7 lbs. steak, 8 lbs. bacon,
10 lbs. ham, 8 lbs. lamb
chops, 2 chickens, a large
roast, 12 jelly rolls, coffee
rings, cheese cakes or
angel cakes, 6 qts. olive
oil, 20 quarts milk, 180
oranges, 20 lbs. lard, 150
lbs. potatoes, 147 lbs.
TOOTH p"tE
>;■
flour, 40 lbs. prunes, 60
lbs. sugar, 36 packages
rice, 15 lbs. coffee, 3 lbs.
tea, 30 loaves bread, 6
doz. eggs, 7 lbs. butter,
6 lbs. cheese, 60 packages
biscuits, 30 cans soups or
beans, 30 large cans evap-
orated milk, 30 cans to-
mato juice, 15 large cans
peaches, 12 large cans
(pears or pineapple or
fruit for salad), 20 large
cans spinach, 20 cans
Golden Bantam Corn, 30
cans spaghetti, 20 cans
cocoa, 10 jars marma-
lade, 20 packages pancake
flour, several lbs. of can-
dy, 15 qts. ginger ale or
other beverages.
CLOTHES
Handkerchiefs, hose, hat,
sweater, gloves, knick-
ers, pyjamas, underwear,
bathrobe, kimono, col-
lars, muffler, raincoat,
sneakers, moccasins,
slippers, shoes, rubbers,
galoshes, girdle, negligee,
summer or house frock,
dress material, bloomers,
neckties, shirts, cuff
links, belt, suspenders
and garters (all 3) , over-
alls, lumber jacket, one
or two dress shirts, in-
fant coat and bunting
(both), 1 infant sweater,
2 infant shirts, 1 infant
blanket.
A
SK THE
A
NSWER
M
AN
lib ,mr\\
Two men spent two hours
daily making up Boris Karloff
as the Monster in Universal's
"Frankenstein"
CHILLS and shivers! The latest horror
sensation, "Frankenstein," has everyone
thrilled and the most outstanding question
this month has been, "Was the Monster real
or was it mechanical?" Movie-goers say it
seems unbelievable that anything so terrify-
ing and ghastly could be human. But it's
true. Boris Karloff was the chap who made
you and you and you stiffen with fright each
time he appeared on the screen.
Boris is a native of London, England, where
he was born Nov. 23, 1887. He was educated
at the Uppingham School, the Merchant
Taylor School and King's College, London
University. He came to America after a long
list of stage successes in European theaters.
On the screen he has played Isapod, the re-
ligious editor in "Five Star Final," and also
appeared in "The Criminal Code," "Young
Donovan's Kid," "The Mad Genius," and
"Tonight or Never." He is considered one of
the finest character actors on the screen. He
is 6 feet tall, weighs 175 and has dark brown
hair and dark brown eyes.
Another actor the fans are asking about is
Dwight Frye, who played the role of the dwarf
in "Frankenstein." Dwight is a native of
Salina, Kan. He is 33 years old and is about
5 feet, 8 inches tall. Off the screen he stands
very erect and is quite handsome.
Naomi Miles, Chicago, III. — Naomi, I'm
surprised at you. Of course Lola Lane and
Linda Watkins aren't the same person. Lola
was born in Indianola, Iowa, and was chris-
tened Dorothy Mulligan. She is 5 feet, 2
inches tall, weighs 120 pounds and has blonde
hair and violet blue eyes. Was married to
Lew Ayres Sept. 14, 1931. Linda Watkins is
a Bostonian, born May 23, 1909. She is three
inches taller than Lola and weighs 108 pounds.
Has blonde hair and blue eyes.
Howard Rundue, Toronto, Oxt., Can*. —
Yes, Norma Shearer and Marie Dressier did
play in a picture together. It was "Let Us
Be Gay."
Myrna Weems. Brownwood, Texas. —
Did you read that story about Hardie Albright
in the January issue? That told you all about
his stage career. Hardie was born in Charleroi,
Read This Before Asking Questions
Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. If you want a
personal reply, enclose a stamped, self-addressed
envelope.
Casts and Addresses
As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
to Questions and Answers, Photoplay Macazdje,
22i W. 57th St., New York City.
Penna., Dec. 16, 1905. He is 6 feet tall,
weighs 160 and has medium brown hair and
blue eyes. Is still single.
Boots Kext, Beverly Hills, Calif. —
Boots, as a citizen of Beverly Hills you should
be able to keep tab on your favorite, Lloyd
Hughes. Here are Lloyd's latest pictures:
"Ships of Hate," "The Sky Raiders" and "The
Deceiver."
Vernon Murphy, Fort Worth, Tex. —
You have gotten your big fellows mixed a
little. George Bancroft did not play in
"Broadway Babies" with Alice White. Fred
Kohler was the big husky in that picture and
you mistook him for Bancroft.
Virginia Cousins, Detroit, Mich. — Col-
leen Moore and Gary Cooper did not appear
together in "The Legion of the Condemned."
It was Gary and Fay Wray. Colleen and
Gary did appear together in "Lilac Time."
The theme song of "Lilac Time" was "Jean-
nine, I Dream of Lilac Time."
Anxious Ann of Baltimore, Md. — Ann
if you had read my page in the December
issue you would have gotten the low-down on
Leslie Howard. Here it is again in part. Leslie
was born in London, England, in April 1893,
and christened Leslie Stainer. He is 5 feet, 7;
weighs 145 pounds and has blond hair and
blue eyes. He is married and has two children.
At this writing he is appearing on the New
York stage.
L. E., New York City. — Linda Watkins is
5 feet, 5 inches tall and weighs 108 pounds.
Conchita Montenegro weighs the same as
Linda, but is two inches shorter. Lew Ayres
is 5 feet, 11 and weighs 155 pounds.
S. G., Hamilton, Ont., Can. — The cute kid
who played the role of Mary Jane in "Huckle-
berry Finn," was Charlotte Henry. Charlotte
is a very gifted young lady, and had consider-
able stage experience before she entered pic-
tures in 1929. She is a native of Brooklyn,
N. Y., born there March 3, 1914. Is 5 feet,
1 ; weighs 100 pounds and has light brown hair
and blue eyes. Victor Varconi was born in
Kisvardo, Hungary, March 31, 1896.
Gertrude and Beth, Fort Snelling,
Mixx. — Believe it or not, you girls had me
baffled for a minute or two. Here's the
solution: The picture "Maybe It's Love," was
written by Mark Canfield. Joan Bennett did
the vamping in that for "dear ol' Upton."
The silent picture you have confused with it,
is "The College Widow" authored by George
The Monster as he really is.
A character actor of distinc-
tion, product of conservative
English schools
Ade and very similar in theme. Dolores Cos-
tello did the vamping in that for "Atwater U."
Natalie Gibbs, Aberdeen, S. C. — Car-
melita Geraghty played the role of Mary Pick-
ford's wild sister in "My Best Girl."
Barbara, San Francisco, Calif. — Bar-
bara, here are the ages, with the exception of
Ann Harding's. Ann was born Aug. 7, but she
forgot to tell me how long ago. Clive Brook is
40; Greta Garbo and Greta Nissen are both 26;
Elissa Landi is 25 and Lois Moran is 22.
Mavis Dufresne, Montreal, Que., Can.
— Mae Marsh was born in Madrid. New
Mexico, in 1897. Her latest picture is "Over
the Hill." Chester Morris is 29 years old and
a native of New York City. He is married
and has one son and one daughter.
Marie Jonas, Peoria, III. — You're not
being a bit of trouble, Marie. I am always glad
to answer your questions. John Holland is 6
feet, 2}/2 inches tall and weighs 185 pounds.
Charles Starrett is 6 feet tall, weighs 185; John
Wayne is 6 feet, 2; weighs 200, and Joseph
Schildkraut is 5 feet, 11, and weighs 159. Now
for their ages: Wayne is 24; Starrett is 27;
Holland is 32 and Schildkraut is 35.
Elizabeth Peck, Wrentham. Mass. —
Gene Raymond was born in New York City in
1908. His real name is Raymond Guion, which
he used on the stage before Paramount signed
him for the talkies. He made a great hit with
the movie public when he played opposite
Nancy Carroll in "Personal Maid." His next
will be "Ladies of the Big House," opposite
Sylvia Sidney.
Alice Karney, Baltimore, Md. — You're
right, Frances Starr is a newcomer to the
screen. She was born in Oneonta, New York,
June 6, 1886. Made her stage debut in 1901 at
Albany. Some of her plays were "The Easiest
Way, "Shore Leave," "Immortal Isabella,"
" Diplomacy" and " Fallen Leaves." She made
her movie debut in "Five Star Final" with
Eddie Robinson, H. B. Warner, Marian Marsh
and Anthony Bushell. Her latest picture is
"The Star Witness."
Photoplay Magazine for February, 1932
83
H
8Voc
> "My DEAR, there's Helen . . . I've just
l spent the week-end with her. And you've
(no idea how shocked I was. She's such a
: nice girl and perfectly fastidious about
I everything else. I don't see how she can
be so careless about her underthings . . .
wear them so long without a change.
"Everybody perspires a little. How can
she take the risk — it's so easy to offend."
Personal daintiness! The subject of whis-
pered comment, veiled hints. For no one
will tell you if you offend, yet nothing
more surely spoils friendship, success in
business, romance, even marriage itself.
Underthings absorb Perspiration. Avoid offending
, . Protect daintiness this easy ^-Minute Way:
Fresh lingerie each day is absolutely essen-
tial to daintiness. All day long under-
things absorb perspiration acids and odors.
The penetrating hint soon becomes
noticeable— to others, even though you
yourself are not aware of it.
And it's so easy to wear fresh lingerie
every day. For Lux is made to remove
every trace of perspiration, yet protects
colors and fabrics. It only takes four
minutes or less. Play safe — make a habit
of washing out underthings and stockings
with Lux diamonds, after each wearing.
1 Wash after each wearing, for perspi-
ration acids left in silk fade colors and
rot threads. With Lux it takes less
time than to wash your face and hands.
2 Never rub dainty lingerie with cake
soap. Rubbing tends to streak colors
and weaken fabrics. Tests show Lux
removes perspiration acids and odors
completely — yet leaves colors sparkling,
like new. Anything safe in water is
safe in Lux.
X Wash this 4-minute way:
1 tablespoon of Lux does 1 day's un-
dies— stockings, too! Use lukewarm
water — Lux dissolves instantly in it.
Squeeze suds through fabric, rinse
twice, knead in bath towel, shake out.
T T^r c j r\ • keeps them like new in
LUX for underthings * ofcomtant waM
washing
8+
Photoplay Magazine for February, 1932
A smart jur and cloth costume jot
ttri i 1, a glamorous ivory chiffon
ig go-xn, and a simple, -dell-
cut bathing suit reveal the ex
taste oj Marian Marsh, charming
young star oj iiarnir Bros. Pictures.
MODERN FASHIONS MAKE NO SECRET OF THE FIGURE
Every style worn today needs a good
figure to set it off — dashing sports togs
that are so trim and youthful — clinging
evening gowns and the very feminine
afternoon frocks.
A good figure is possible to nearly
every girl by wise exercise and diet. But
we must be careful in dieting to balance
the menus so as to retain beauty and
not harm it.
Every reducing diet should contain a
reasonable amount of "bulk" so as to
promote proper elimination. Without
this, beauty soon fades — eyes lose their
sparkle — and the skin may become sal-
low and colorless.
Laboratory tests prove that Kellogg's
All-Bran provides the needed "bulk"
— and also furnishes a generous amount
of Vitamin B to help tone the system.
In addition, it is rich in available iron,
which helps build red blood and bring
attractive color to the complexion.
You will enjoy eating Kellogg's All-
Bran either as a cereal with milk — or in
many delightful cooked dishes, salads
and soups. Two tablespoonfuls daily are
sufficient for the average diet. It is not
fattening and is prescribed by eminent
dietitians. •
Your grocer has Kellogg's All-Bran
— in the red-and-green package. Made by
Kellogg in Batde Creek.
WRITE FOR FREE BOOKLET
"THE MODERX FIGURE''
Leading motion-picture actresses
are shown to you in "fashion
close-ups," wearing the costumes
that millions of critical eyes will
see on the screen. Everything
from sports-togs to evening
gowns. In addition, the booklet is full of
valuable information on how to reduce
wisely. Free upon request.
KELLOGG COMPANY
Dept.D-2, Battle Creek, Michigan
Please send me a free copy of your booklet,
"The Modern Figure."
Xame
Address
Coofci
Ch
es
eese
Cake and
s
tew.
f
Look out for that sleeve,
Marie, you'll dip it in
that tasty looking con-
coction you're whipping
up for lunch!
Photoplay Magazine
919 N. Michigan Ave., Chicago, 111.
Please send me a copy of Photoplay's Famous
Cook Book, containing 150 favorite recipes of the
stars. I am enclosing twenty-five cents.
1
COOKING is not just
another publicity gag
with that queen of
reigning Hollywood queens,
Marie Dressier. Marie may
have a capable cook in her
kitchen but that doesn't
mean that she doesn't know
her recipes. And what's
more she gets a real kick
out of rolling up the old
sleeves and tossing off a
tasty dish herself.
Then there is Madge
Evans who doesn't look be-
wildered if you hand her a rolling pin. Madge is a sensible girl
as well as a pretty one, she doesn't entertain silly ideas that a little
domestic knowledge will detract from her screen glamour.
Leila Hyams is another person who enjoys taking a whirl at
the kitchen every now and then. Of course you can't expect
to find her all done up in an apron five nights out of the week
— but she does find that cooking once in awhile provides a
pleasant relaxation from the stress of the studios. She likes
puttering around with tricky kitchen gadgets — trying to con-
coct new dishes to break into the monotony of old ones.
Like most people who expend a great deal of nervous force
in artistic pursuits and don't have to worry about weight,
Madge, Marie and Leila eat heartily and are fussy about food.
They enjoy plain dishes but they want them tempting looking.
NOW Marie Dressier was brought up in that good, old-fash-
ioned cooking school that didn't advocate waste of any kind.
Tidbits of food were not tossed out at the end of a meal, rather
they were frugally saved to go into the making of some tasty
dish the next day. Half the fun of cooking, in Marie's estima-
tion, is using up the odds and ends.
Do you, for instance, save the end of a steak? Marie does.
And she makes it into a perfectly swell concoction. She takes
the left overs of the steak, dices them and then adds these in-
gredients— diced onions, celery, tomatoes and a dash of bay
leaves. The whole is cooked in enough water to prevent
burning. Try it sometime.
Mmm, cheese cake! And if you have never been able to get
it to taste just as good as the first one you ever had, try this
.recipe of Madge Evans'. Her cheese cakes are poems!
Be sure to write name and address plainly
You may send either stamps or coin.
Why have you kept this
from us so long, Madge
Evans? We never so
much as suspected
cheese cake talent !
Cheese Cake
3 tablespoons butter
4 tablespoons whole wheat
flour
1 teaspoon salt
4 tablespoons grated American
cheese
A few grains Cayenne
The butter is melted, the
flour added and stirred un-
til well mixed. Then the
grated cheese and season-
ing is added and the whole
mixture put into a buttered
pan. It is baked in a moderate oven. And the last finishing
touch is powdered sugar sprinkled over the top.
Cookie making is real fun, especially if you can get the fin-
ished cookies to turn out with the air of chef-made ones.
Leila Hyams has two cookie recipes that are almost infallible
when it comes to being delicious. One is a sugar cookie recipe,
the other is for a delicious sounding concoction called,
"Kisses!" Here they are.
Sugar Cookies
V/2 cups sugar
2% cups whole wheat flour
}/2 level teaspoon soda
2 eggs Salt Vanilla
% cup shortening
Y$ level teaspoon cream tartar
x/l cup milk
Mace
Cream sugar, shortening, flavoring and salt. Beat in the
eggs one at a time. Stir in the soda which has been dissolved
in milk. And last, work in the cream tartar sifted_ into the
flour. Roll out, cut with cookie cutter. Bake in quick oven.
Kisses
3 egg whites
1 tablespoon cocoa
1 cup chopped nuts
1 cup powdered sugar
}/i teaspoon salt
1 cup chopped dates
Beat the egg whites very stiff. Mix and sift the cocoa, sugar
and salt. Add the chopped dates and nuts. Beat whole to-
gether and then drop from a spoon onto a greased pan. Bake
about 30 minutes.
Carolyn Van Wyck
85
Cal York's Monthly Broadcast from Hollywood j
| CONTIMED FROM PAGE 39 )
Acme
Here's one of Hollywood record romances. Mary Brian has been keeping
steady company with Russell Gleason for months and months and months.
And everybody thought they'd be Mr. and Mrs. long before this. Why
wouldn't Mary say, "Uh-huh"? Maybe now that Buddy Rogers has left
Hollywood for good and all she will. This picture shows Mary and Russ
watching the polo matches between a California and a Mexico City team
f~^ ARBO'S whereabouts have been discov-
^-'ered, the mysterious house "somewhere in
Santa Monica" to which she moved when too
many people discovered her San Vincinte
address and too many sight-seeing bus spielers
bawled out:
"On your right, ladies and gentlemen, is
the home of the famous Greta Garbo."
Miriam Hopkins is now living in that place,
while Greta has moved into a house just a
couple of blocks from Joan Crawford's and
Douglas Fairbanks' home in Brentwood
Heights.
From there she does her usuai walking in the
rain (when it rains) and takes her usual sun
baths (when the sun shines).
BUT the rumors persist that come this
June Garbo's permanent address will be
"somewhere in Sweden." Garbo is a wealthy
woman. She has lived with the frugality of an
extra girl and has tucked away most of the
money she has made.
There's enough for her to live comfortably
for the rest of her life.
From the moment when she was just "that
Swede Stiller brought over" until this very
day she has had no enthusiasm for Hollywood.
" I do not think I make any more pictures,"
is what Garbo keeps on saying to her studio
and her manager.
86
GARBO keeps her feet in perfect
condition, and spends more time
on them than most women spend on
their faces. She goes to a chiropodist
twice a week. He works at the Am-
bassador hotel but he won't tell you
a thing about the mystery girl. Not
even the size of her shoe.
HTHE reason Rex Bell first denied the fact
■*■ that he and Clara Bow were married, was
because he was afraid her producers might
not want her to get married. And Rex is taking
no chances on having Clara do anything that
might hurt her film comeback.
For Rex is that Good Influence Clara's life
has needed all these years. He's what you'd
call a "regular fellow." And his devotion to
Clara is one of those things to make these
cynical eyes grow misty. Lots of folks have
said his long engagement and his subsequent
marriage to Clara were just his attempt for a
little publicity. That was the angle on the
Richman-Bow affair if you remember. But
that isn't Rex's idea. In fact, he hasn't any
use for those men who have used Clara's name
to get publicity for themselves. He always
wants his name kept out of things where
Clara is concerned.
The producers (and the only hitch in Clara's
comeback will be if these producers don't get
the money to finance her pictures) are delighted
at Clara's marriage to Rex. They know he
nursed her through her illness and has stopped
her from making a lot of the usual Bow ges-
tures.
But will he be exciting enough for the
red-headed IT girl? Clara said, a long time
■Afio, that she wanted a man who would think
of her first.
Well, she's got one. And she'll be wise to
hang on to him.
•"THE reason they were married was because
■*• Rex had given Clara just a year to make
up her mind. He wouldn't extend the time
limit.
When Clara discovered it was now or never
she made it now, and the two hopped to Las
Vegas without telling a soul.
Rex was nervous, so nervous, in fact, that
he got mixed up in his lines. Clara laughed at
him right in the middle of the ceremony. But
he had a chance to laugh back at her.
She had practiced reciting the ritual and
knew that the promise to "love, honor and
obey" had been struck out of the service and
"love, honor and cherish" substituted, but
when she came to repeat it after the judge who
tied the knot she said, "I promise to love,
honor and obey — oh, I beg your pardon, to
cherish."
[ PLEASE TURN TO PAGE 88 ]
Wide World
They'd have you believe that this lad
went to Egypt to forget. But it's hard
to think that anybody can ride a
camel, wear a fez and nurse a broken
heart all at the same time. Gary
Cooper — honest to goodness it's Gary
Cooper — has tossed aside his som-
brero and cow-pony for this. But
(stage whisper) there's a very at-
tractive woman in the party named
Countess di Frasso. And she loves
to see a man wear a fez
Photoplay Magazine for February, 1932
87
VV
1
!
■A *•
M
In the Kotex plant, rolls
of immaculate Kotex fill-
er, white as new snow,
feed into glistening ma-
chines where they are
carefully shaped and cut.
This Kotex hospital gauze
might well wear a gold
medal, it's had to pass so
m any rigid inspections.
Nozu it embraces the snowy
filler, to make a Kotex pad.
Nurses and doctors, sur-
rounding every move
with scrupulous sanita-
tion, dispensed 24 million
Kotex pads to hospital
patients last year, alone.
it's an unthinkable
compromise for her
to sacrifice the known immaculacy
of genuine KOTEX
WHO KNOWS- who can say what
hazards and risks have been re-
moved from women's lives because
of genuine Kotex? Dangers once in-
vited . . . now a thing of the past.
Embarrassment, even humiliations,
gone. And health carefully protected
at times when it is gravely endan-
gered,because this sanitary protection
is sanitary. Because it does protect.
The nameless fear of the unknown,
the doubtful; the ceaseless
experimenting is perhaps as
disturbing as the haphazard
methods of a bygone day.
What about these count-
less substitutes? How were
they made? Where? By whom? What
hands have touched them? Were the
materials pure? Tested? Germ-free?
You don't know. And unless you do
Never more
than 35c
Now
know, how can you trust such sani-
tary protection?
Fortunately, when you ask for
Kotex, you know you are safe. Hos-
pitals, alone, used more than twenty-
four million Kotex pads for patients
last year.
Every woman who uses sanitary
protection should read every word
that appears beneath the above pic-
tures. Before she buys a sanitary
pad she should ask herself:
Is it clean? Is it safe? Is it
pure? Am I certain?
Can you— can any woman
—afford to risk anything less
than the scrupulous clean-
liness Kotex, and Kotex alone,
gives you? Ask for it. Make sure,
when buying it wrapped, that you
get Kotex. Remember, Kotex is safe.
KOTGX
SANITARY napkins
Cal York's Monthly Broadcast from Hollywood
CONTINUED FROM PAGE 86
Wide World
Hollywood's most ardent bachelor
succumbs! Edmund Goulding, direc-
tor, writer, actor, painter, singer,
musician and composer, marries Mar-
jorie Moss, dancer. Now every
talent is included in this versatile and
accomplished family of two. You see,
Eddie couldn't dance. So he just had
to marry Marjorie. Before Marjorie
came to town Eddie had been escort-
ing Pola Negri to all the best places
V\ TELL, the staid London courts had never
^* heard anything like it. And the judge
got his wig all awry trying to comprehend
everything. I mean when a Miss May Shep-
herd sued Charlie Chaplin for back pay due
her, she said, for being his publicity woman
while he was in London. The British were
amazed. It came as a terrific shock that such
things happened. And the Loudon Daily Mail
led off the story with: " Secrets of the methods
of focusing public attention on film stars were
disclosed yesterday at Westminster County
Court before Judge Sir Alfred Tobin."
Secrets — my eye! They call these publicity
methods secrets in England, when any kid on
the streets in America can tell you how press-
agents operate. But the British courts were
all confused and bothered when Miss Shepherd
said that she arranged Chaplin's visit to the
Lord Mayor and also when Charlie forgot
about an engagement with the Prime Minister
it was she who wrote the letter of apology. At
that the judge was in a twitter of excitement,
and burst out with, "This is going to do us a
lot of good in foreign countries. Fancy how
foreigners will laugh at us."
A XD I'll bet Judge Sir Alfred regales his
•* Mriends with the account of " these amazing
actors who actually pay people to secure press
notices for them."
He was harsh when Chaplin testified and in-
sisted that the comedian "speak up" when he
was in the witness box. Chaplin was all
apologies for the way important names had
been "bandied about" in court. Miss Shep-
herd was paid and everything is serene again
in the British Isles.
TT was a baby who practically stole "His
•MYoman" from Gary Cooper and Claudette
Colbert, for when that baby, who wasn't old
enough to talk, either laughed or cried, all
eyes were for the kid and not the two grown up
actors. "It's so natural," everybody said, and
this is how it happened. The baby took a
liking to Claudette Colbert's pocketbook.
When the director wanted it to laugh he
dangled the pocketbook out of camera range
and when he wanted it to cry they took the
purse away. Ah, if it were only as easy to
make adults give good performances.
JAMES MONTGOMERY FLAGG
says the depression has hit the
studios so hard that the yes-men
merely nod.
•~"»OXXTE BEXXETT chose the twenty-
^''second for her wedding day because twenty-
two is her lucky number. She signed the con-
tract that led to the $30,000 a week on a
twenty-second.
Connie is in love with Hank, the Marquis,
and no mistake. She says she did not marry
him for his title and doesn't want to be
called Madame la Marquis. What's more she
says she wants lots and lots of children. All
her intimate friends say they believe this, too.
HTHEY were married on Sunday. Monday
■*■ afternoon Hank was in a barber's chair.
"What time is it?" he asked. The answer
was "five-thirty." The new groom jumped up,
"I've got to get home fast. I'll get the devil
for being late."
But he spends most of his time on Connie's
set.
In the meantime Phil Plant, Connie's ex-
husband, wrote a song called, "You're Giving
Your Heart to Somebody Else When You
Know It Belongs to Me."
"DEFORE Connie and the Marquis were
■'-'married she had him sign an agreement
that if there were a divorce he would relinquish
all claims on her property.
A ND have you heard this simile?
**■ — "As unnecessary as was Con-
nie Bennett's announcement that she
would continue working after marry-
ing the Marquis."
TTHAT old actor's superstition that members
■*■ of the profession always die in threes, has
more believers than ever since the circumstance
has come to pass again. The three deaths
that came so near together were those of
Robert W7illiams, Lya De Putti and Robert
Ames. Strangely enough. Tom Mix was
seriously ill, his life hanging in a balance dur-
ing this time. He was just at the crisis of his
illness when Lya died. And all his friends
said, "Well, Tom will be the third." Instead,
he hung on to life. Suddenly came Robert
Ames' death in Xew York. Staunch believers
in the old tradition then said, "Tom will get
well." His doctors had given up hope but
Mix rallied and is now on the road to recovery.
npOM MIX was one of the most difficult
■*■ customers the hospital ever had. When his
nurse left the room the day after the operation,
Tom got out of bed. He wasn't going to be
coddled or pampered. He would walk to the
bathroom! They found him on the floor in
a faint and it was darn near the end of Tom.
[ PLEASE TURN TO PAGE 90 ]
International
Wally looks as proud and Mrs. Beery as worried as if these children really
belonged to them. Well, they do in a way. It happened like this. Mrs.
Beery's aunt died recently leaving three children, George Priester, nine
years old; Carol Ann, 15 months, and William, aged four. Wally was crazy
about the kids so he will legally adopt Carol Ann and raise the boys, so that
the children will always be together
88
Photoplay Magazine for February, 1932
Striking
Smoke-Snags?
CHEER UP! SPUDS BRING MOUTH-HAPPINESS!
89
Before Breakfast ... Is your before-breakfast ciga-
rette a snag? Smoke Spud! It leaves your mouth
moist-cool and clean-tasting. It means mouth-
happiness when mouth-happiness means most.
On Occasion .. . Do you smoke only "on occasion"?
Then you certainly want full fragrance. Spud gives
you this . . . and cool, clean mouth besides. Another
spot for Spud's unfailing mouth-happiness.
At Parties — When the party's right . . . and ciga- Late at Night... Do you hesitate over late cigarettes
rettes follow fast. . . do you strike a smoke-snag? Try because of the morning-after taste? Cheer up. Spud
Spud; stay with it. You'll have a cool, clean taste brings a grand new freedom in old-fashioned tobacco
always. More Spuds mean more mouth-happiness. enjoyment. Smoke . . . and stay mouth-happy.
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(30c IN CANADA) • THE AXTON-FISHER TOBACCO CO., INC., LOUISVILLE, KENTUCKY
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PAGE 88 ]
International
Here's a girl who could have had movie fame and fortune for the asking.
She gave it all up to marry Morton Downey, highest paid radio singer in the
world. The little woman who sacrificed is Barbara Bennett, of the
three Bennett sisters. Connie's oldest, Joan is youngest. Morton and
Barbara were in Hollywood on a visit
""THE newspapers tried to make much of poor
■*■ Lya De Putti's death and reported that
many curiosity seekers but only a few friends
attended her funeral. As a matter of fact
during her strange life Lya had very few real
friends and long before her death she had
stopped seeing these few. She left no will
but the list of her possessions was pitifully
small — her clothes, eleven pieces of jewelry,
live pieces of fur, two automobiles and $900
in the bank. That was all. It isn't much for
a film star to leave behind.
"DE FORE Janet Gaynor, her husband and her
■'"'mother left Hollywood, a certain young
man, whom Janet knew slightly, trailed her car
all the way to the station and, just as the train
was about to pull out, swung aboard. He sat
across the aisle of the diner staring at Janet
90
through every meal. And everywhere Janet
went in New York, her silent, but persistent
admirer trailed her, from hotel to shops, from
shops to theater.
"pNOUG FAIRBANKS won't go on another
-'-'picture making jaunt around the world.
The reason given for his sudden change of
plans is the Manchurian trouble, and Doug
had planned to shoot in China and Japan.
Hut maybe the fact that his first travel film,
in spite of its novelty and charm, isn't going
so good at the box-office is the real reason.
T IL DAGOVER had studied English for
^■"'only a few months before she came to Holly-
wood to make talkies. One morning she was
handed a studio envelope a few minutes before
a scene and, believing it to contain dia-
logue for the day, she memorized its contents
thoroughly. Standing before the microphones
and much to the amazement of the assembled
crew she delivered a ringing and earnest plea
for funds for the Community Chest, Holly-
wood's biggest charity.
'"THE day before Pola Negri's collapse, news-
■*• papers printed the rumor that she was en-
gaged to John Loder, the handsome young
English actor. Even from her bed of pain Pola
denied this. So did John. The reason is ob-
vious. Loder has a perfectly good wife.
A FEW years ago Clark Gable and Janet
■*■ *■ Gaynor worked together in one of the in-
dependent studios, where the featured player
was always a lion. Clark was the most popular
man on the lot — but not because of his sex ap-
peal. No sir, it was because he was the only
one of the group who owned a car. And di-
lapidated as it was, Janet Gaynor used to
stand next to him in line so she could ride
home in it.
Clark also was an extra in "The Merry
Widow," the picture in which Jack Gilbert
starred. And that bit is too eloquent for
comment.
TJUTH CHATTERTON uses her dining
-L*-room only when there's company, just like
your Aunt Em. When she's not entertaining,
dinner is served on a card table in an upstairs
sitting room. Across the card table sits Ralph
Forbes, friend husband.
And Hollywood wonders how much longer
Ralph will be sitting there. Which is another
way of saying that there are those rumors in
the air.
TTHE morning after Bob Montgomery's four-
■*■ teen-months-old baby daughter died very
suddenly from the after effects of spinal
meningitis, he was forced to go to the studio.
He just chanced to walk up to Norma Shearer
as she was waving her hand to fifteen-months
Irving Thalberg, Jr. Bob turned his head away
as Norma called, "Goodbye, baby."
And if there's ever another baby in the Rob-
ert Montgomery family, Bob said not long ago
it is not going to be raised so carefully. When
she was five months old little Martha was
perfectly healthy. She cooed and kicked and
laughed like any other baby when her daddy
chucked her under the chin. She always had
perfect care and wasn't allowed with other
babies.
A ND there's the story they told after
■* "-Lionel Barrymore won the academy award
for the best acting of the year.
Late, on the afternoon of the dinner, Lionel
called John on the telephone.
"John," be sputtered, "have you got one of
those swallow tail coats? I've got to go to that
banquet tonight and I have no dress suit."
"Lord, no," John said. "I haven't got one.
But wait a minute. I bought one for a picture
once. Wait till I rummage through the
trunks."
And that night, before several thousand
people, Lionel received the coveted award in
John's old swallow tail, two sizes too small.
[ PLEASE TURN TO PAGE 92 ]
Photoplay Magazine for February, 1932 O I
54 women told their doctors, "I can't use soap" ... 52 of them now use Woodbury's!
T-Hf NATION-WIDt
TfS
convinced them. But read about
this test. ..and its thrilling results
SYNOPSIS OF THE NATION-WIDE
HALF-FACE TEST
WHO TOOK part . . . 612 women, aged 17 to 55,
from all walks of life — society women, housewives,
clerks, factory workers, actresses, nurses.
THE TEST . . . For 30 days, under scientific super-
vision, each woman cleansed one half her face hy her
accustomed method, and washed the other side with
Woodbury's Facial Soap.
WHERE . . . New York, Chicago, Philadelphia, De-
troit, Boston, Baltimore, Houston, Denver, Jackson-
ville, Hollywood, St. Louis, Pittsburgh, Portland
(Oregon) and Toronto, Canada.
SUPERVISED BY 15 eminent dermatologists and their
staffs. Reports checked and certified by one of the
country's leading dermatological authorities.*
RESULTS . . . Woodbury's was more effective than
other beauty methods in 106 cases of pimples; 83
cases of large pores; 103 cases of blackheads; 81 cases
of dry skin; 115 cases of oily skin; 66 cases of dull,
"uninteresting" skin.
*In accordance with professional ethics, the names of
these physicians cannot be advertised. They are on file
with the Editor of this magazine and are available to
anyone genuinely interested.
TUNE IN on Woodbury's every Friday evening 9:30
P. M., Eastern Standard Time . . . Leon Belasco
and his Orchestra . . .WABC and Columbia Network.
*rv
Ss=s°
N OT JUST A SOAP..
BEAUTY TREATMENT
SCIENTIFIC
CAKE -FORM
When leading dermatologists in fourteen large
American cities opened the Nation-wide Beauty
Clinic, they found that many women were not
anxious to entrust their delicate complexions
to any soap, no matter how fine.
54 of the 612 women who took part in the Clinic
said, very positively, at first, " I cannot use soap
on my skin. It is too dry and sensitive."
"Yes," the dermatologists agreed, "your skin
IS dry. It IS sensitive. Certainly you could
not use a strong or harsh soap. But . . . every
skin, except a few that are really sick, needs a
fine soap. Its use will improve the tone of your
skin and so correct that abnormal sensitiveness."
So these 54 women, along with 558 others, took
part in the dermatologists' "Half-face Test."
For 30 consecutive days, each woman went on
cleansing the left side of her face with her usual
soap, cream or lotion. On the right side, she
used Woodbury's Facial Soap.
Clinical skin examinations made at the end of
the test revealed, conclusively, the superior
action of Woodbury's. In 79% of the cases, the
Woodbury side of the face showed a marked
improvement over the side treated with other,
and more expensive, preparations. Even nor-
mally good skins were clearer, finer, firmer,
when cared for with Woodbury's.
With this proof before you of what Woodbury's
can do, surely you want to try it on YOUR
skin. A "skin you love to touch" is "a jewel
beyond price." Yet Woodbury's Facial Soap
costs but 2Si, less than a penny a day.
COUPON FOR PERSONAL BEAUTY ADVICE
John H. Woodbury, Inc., 814 Alfred St., Cincinnati, Ohio
In Canada, John H. Woodbury, Ltd., Perth, Ontario
I would like advice on my skin condition as checked, and
samples of Woodbury's Facial Soap, Woodbury's Cold
Cream, Facial Cream and Facial Powder. Also copy of
"Index to Loveliness." For this I enclose 10^.
Oily Skin O Coarse Pores O Blackheads O
Dry Skin O Wrinkles O Sallow Skin O
Flabby Skin O Pimples O
For sample of one of Woodbury's Three Famous Shampoos,
enclose 10 cents additional and indicate type of scalp.
Normal Scalp O Dry Scalp O Oily Scalp O
Na trig. Street - — ,
City.
Stall.
1932, John H. Woodbury. Inc.
Cal York's Monthly Broadcast from Hollywood
I CONTINUED FROM PAGE 90 j
International
"Goodbye, old pal," said Lil to Mary at Grand Central Station recently
when Mary Pickford went to Hollywood and Lillian Gish stayed in New
York. The girls have been chums for years and years, you know. Started
way back in the old Griffith days and has lasted right on through success.
Although you haven't seen her on the screen for a long time, you'll notice
that Lillian is as prim as ever
COME new pictures had just come into
^Photoplay office and were lying on our
desk. One of the girls was walking by and
espied the top one. She snatched at it eagerly.
"Oh, lemme see," she begged. And then she
tossed it aside. "It's only Jack. I thought it
was Lionel."
"\X7HEN Marie Dressier returned
» " to her chair after receiving the
award for the best acting among the
women for this year at the Academy
dinner, her waiter leaned over and
whispered so all could hear:
"If you hadn't won there'd have
been a riot."
Which shows what the waiters
were ready to do about it!
•THEY were taking scenes for "Tarzan" at
*■ Sherman Lake. Director Van Dyke had
hired all of the hippopotami from a famous
circus to add local color. They drove the
animals into the lake.
Two weeks later they were trying to get
them out, using every stunt known to animal
trainers but the big boys refuse to budge.
They are seriously considering using derricks.
And the movie company is paying $100 a
day for them!
They'll have to cut the salaries of eight
more stars.
[ PLEASE TURN TO PAGE 94 ]
VV THEN Joan Crawford and Douglas Fair-
W banks set out for New York it was
Joan's idea that she would browse around the
shops and have a nice rest. Rest? Her two
weeks' stay in the big city boasted an itinerary
that would do credit to Queen Marie. Every
hour of the day was filled ; she took a couple of
dozen singing lessons, did a year's shopping
and went to a different show every night.
Wan and pale she stumbled on the train and
caught up on her lost sleep in Hollywood. In-
cidentally (and here's the answer to all you
who have complained about the over slimness
of her figure) she weighs 130 pounds. That's
partly Doug's doings (who has never approved
of her being so thin) and partly her doctor's
idea (who insists that she eat three square
meals a day).
(~\V course, she and Doug never stepped out
^^on the street without being followed by a
horde of fans. One girl found out what theater
they were attending and was on hand every
evening. Another waited outside the hotel
door from nine o'clock in the morning until
Joan appeared. Others solved the problem of
hearing Joan's voice on the phone by telling
the clerk that the studio was calling. But that
racket didn't work long.
Joan is the most self-conscious star in Holly-
wood. She is so frightened of meeting people
that when she knows she has to go through the
ordeal she does not eat for hours before. Per-
haps the funniest trick she pulled was when
she introduced Sir Hubert and Lady Wilkins
to her mother-in-law. Knowing their names
perfectly, Joan was so flustered that her
tongue refused to obey and she presented them
as " Mr. and Mrs. Wilkes.'*
92
T OVE, DIVORCE, ETC.:
•*"* Mary Duncan and her secretly married
husband, Lewis Wood, have decided to sepa-
rate. . . . Kenneth Harlan (who used to be
married to Marie Prevost) is in Reno. And
you know what that means. He's planning a
divorce from his third wife, Doris Booth. . . .
And they're saying that all is not well with
the Rudy Vallees (she used to be Fay Webb)
but it isn't true. . . . Dorothy Dwan, who
was once Mrs. Larry Semon and once Tom
Mix's leading woman, is the mother of a baby
boy. She is now Mrs. Paul Boggs and hasn't
been on the screen for years. . . . Elise Bart-
lett, Joseph Schildkraut's ex-wife, is married
to Book Publisher Horace Liveright. . . .
There's a new boy friend for Loretta Young
every month. Last name mentioned is Leslie
Fenton's. . . . Buddy Rogers' brother (it's
hard to believe but his first name is Bh) is
being sued for divorce by his bride of only a
year, Marajen Stevick. . . . Maureen O'Sul-
livan and Eddie Quillan have been seen around
the best places. . . . And also Roberta Gale
and John Darrow. . . . Sister Connie got a
Marquis so Joan wanted one, too. Her boy
friend's last name is Markey. First name Gene.
. . . And it's wedding bells pronto for John
Considine and Carmen Pantages. . . . Mae
McAvoy is tatting tiny garments. . . . Linda
Watkins and Erwin Gelsey are going together,
but Linda has a new beau every few days. . . .
And then there is Sidney Fox and David
Lewis, a junior exec at Paramount. . . . And
don't let anybody kid you, the Lupe Yelez-
Jack Gilbert romance is still going strong since
their return from Europe. . . . Sally Blane
and Richard Cromwell are crazy about each
other.
International
"I want to stay in Hollywood to be
near my husband," said Mae Murray.
And this time several months ago she
was saying all sorts of things about
him in legal papers. This picture
shows Mae and bee-stung lip coming
back to Hollywood
Photoplay Magazine for February, 1932
93
makers of
Vicks VapoRub
announce
A INew i Ian for
better Control- of- Colds
Made Possible by the
Development of a
New Product Based
on a New Idea for
Prevention of Colds
FURTHER REDUCES
FAMILY "COLDS-TAX"
A third of a century ago, Luns-
ford Richardson, Sr., a North
Carolina druggist, developed a
new idea in treating colds —
and with it Vicks VapoRub.
Now, after years of research,
Vick chemists have developed
a new idea in preventing colds
—and with it Vicks Nose and
Throat Drops. These two are
companion products— they aid
and supplement each other.
Together, they make possible
the Vick Plan for better "Con-
trol-of-Colds" in the home.
HERE, BRIEFLY, IS THE NEW VICK PLAN :
1. before a Cold Starts
At that first sneezy, scratchy irritation of the nose or upper throat-
Nature's unmistakable warning that you are "catching cold"— use
Vicks Nose Drops promptly as directed. Many colds can be checked
at this stage and bad colds avoided.
If you catch cold easily, the wise plan is to use just a few Vicks
Nose Drops up each nostril after exposure to any particular condi-
tion that your own experience tells you is apt to give you a cold
for instance, a night on a Pullman— a dusty automobile ride— over-
smoking—over-heated, over-crowded rooms, etc., etc.— and you feel
the slightest stuffiness of the nasal passages. Vicks Drops are espe-
cially designed to aid the nose— Nature's "preventor" of colds— when
over-taxed by such emergencies of our artificial present-day living.
2. After a Cold Starts
At night, massage the throat and chest well with Vicks VapoRub
(now available in white "stainless" form, if you prefer). Spread on
thick and cover with warm flannel. Leave the bed-clothing loose
around the neck so that the medicated vapors arising can be inhaled
all night long. During the day— any time, any place— use Vicks Nose
Drops as needed for ease and comfort. (If there is a cough, you
will like another new Vick product— a Cough Drop actually medi-
cated with ingredients of Vicks VapoRub.)
This gives you full 24-hour treatment without the risks of too
much internal "dosing," which so often upsets the digestion— espe-
cially of children — and lowers body strength when Nature most needs
it to resist disease. DonVdose" colds except on your doctor's advice.
TRIAL OFFER TO VICK USERS
We believe that these two products — used as directed
in the Vick Plan for better "Control -of- Colds"— will
greatly reduce your family's "Colds-Tax" in money, loss
of time and health. We believe this so strongly that
we have authorized all druggists to sell Vicks Drops to
any user of Vicks VapoRub on trial— to refund the
purchase price if you do not find the Vick Plan for
"Control-of-Colds" more than satisfactory in your home.
VICK CHEMICAL COMPANY
•& m •%. JP-m^v^-s^J
PRESIDENT
Cal York's Monthly Broadcast
| CONTINUED FROM PAGE 92 ]
PI 'HERE'S a tiny restaurant in Hollywood
-*- which boasts Greta Garbo's patronage. It's
The Canary Cottage, specializing in sixty-five
and eighty- five cent dinners. And Garbo's
favorite dish, as always, is beefsteak and
onions.
JACKIE COOPER was dining with Louis B.
J Mayer and his family. The producer asked
the lad's preference in foods. "Spaghetti,"
Jackie ordered promptly.
The Mayer chef immediately prepared the
dish with a great culinary flourish. Jackie ate
silently. Finally, L. B. asked, "Well, how's
that spaghetti, Jackie?"
" Huh. My grandmother can make it better
than that any day."
HERE'S what's happening along the Holly-
wood financial front.
Salaries are being cut, options are not being
renewed. Honestly, the poor stars don't know
where their next caviar canape is coming from
and maybe some of the pitiful darlings can
have only seven new diamond bracelets this
year.
John Barrymore, who used to get $200,000
a picture receives a mere $125,000 now.
They were willing to renew Adolphe Men-
jou's contract if he'd take a cut. He wouldn't
and, thumbing his nose in the grand Menjou
manner, sailed for Europe.
Marguerite Churchill was making $750 a
week. Her next option called for $1,000.
When they said they'd keep her at the old
figure, Marguerite said, "Not this old figure,"
and went a-freelancing.
If Lil Dagover's "The Woman from Monte
Carlo" drags the money out of your pocket —
and yours and yours, the studio will bring her
back for another. But they're waiting to see.
"""THERE'S not enough box-office to carry
■*■ Winnie Lightner's salary. She makes one
more picture and quits. Anna May Wong is
gone from the Paramount list — they thought
$750 a week too much to pay her.
Radio Pictures wanted Ivan Lebedeff to take
a cut. Drawing himself up to his full Russian
height and clicking his heels and his teeth to-
gether he refused grandly. Now he's free-
lancing, too.
And there are a lot more who will have their
salaries slashed before this depression is over.
/^\NE of the swellest interviews we've read
^^in a long time was that between Charlie
Chaplin's two boys, Sydney and Charlie, Jr.,
and a reporter on the London News Chronidc.
And did those lads spill devastating personal
opinions!
Sydney declared, "Daddy isn't really so
very funny. I like Punch and Judy shows
better because you get more action." And he
went on to say that his father "wasn't so very
funny in 'City Lights' but it was better than
his other films. He didn't throw pies, you see."
Then, afraid that his words would be miscon-
strued Che knew about Hollywood rumors),
he added hastily:
"People get the wrong impression of dad.
It's not good style to throw pies, but he only
does it in the films. He never throws pies at
home."
Charlie, Jr., didn't have much to say. He
simply told the reporter that he wanted to be a
lion tamer.
TN a court row with her lawyer, Dolores Del
-*-Rio said Edwin Carewe was her "worst
enemy."
And less than a year ago, Dolores told a
writer, with tears in her eyes, that she could
never forget what Director Carewe had done
for her in bringing her to this country and
giving her an opportunity.
And before that Dolores and Carewe toured
Europe in the same party.
And shortly before that Eddie Carewe was
supposed to be the cause of the trouble between
Dolores and Jaime Del Rio.
And before that — Carewe was introducing
her to Hollywood and using all of his then-great
influence to break a path through the stiff
barriers before her.
A/TARLENE DIETRICH'S former German
■'■"■'■understudy, Tala Birrell, is in Hollywood.
She's better known abroad than Marlene. . . .
Connie Bennett has had the same maid for
nine years and the same chauffeur, waitress
and cook since she came to Hollywood. . . .
Joe E. Brown's chest is hairless. When he was
Hundreds of readers said they liked working out the jig-saw puzzle we ran in the December issue. So here's another grand
one with which to while away those long winter evenings. The idea is to cut out the pieces with a scissors, following the out-
lines carefully. Then spread out a large piece of stiff paper and assemble the two heads on it. You'll find it easier to paste
them down as you fit piece to piece. Both of these are men. One is your newest heart throb and the other is a suave actor.
of Hollywood Goings-On!
cast in a role that demanded he look like a big,
husky guy, make-up man Perc Westmore
made him a "chest wig." . . . Richard Dix
won the first domestic argument. Rich wanted
to live in an apartment. Wifie Winnie wanted
to have a house. But they're living in the
swankiest apartment house in Hollywood. . . .
George Bancroft has joined Garbo. No, not
actually. He's just turned recluse and doesn't
go to parties anymore. . . . Karen Morley
hates to wear hats and doesn't except when
she has to. . . . Carole Lombard has a new
mink coat and a sable neck-piece. Hubby Bill
Powell gave them to her for Christmas. . . .
Fredric March works at the studio in the day
time. His wife, Florence Eldridge, works at
the theater at flight. They see each other at
luncheon. . . . Director Jack Ford is discon-
solate. Somebody stole the Photoplay gold
medal he was awarded for directing "Four
Sons," the best picture of 1928. All the de-
tectives in Hollywood are looking for it. . . .
Tallulah Bankhead never walked an unneces-
sary step in New York. But in Hollywood she
and young Richard Cromwell took a three-mile
hike. . . . Lola Lane and Lew Ayres get
along great. Lew likes the dark meat of the
chicken, Lola the neck and wings and that
leaves the white meat for company. . . .
When Nancy Carroll was arrested in New York
for breaking a traffic law she was so flustered
she said she was Nancy Carroll Kirkland.
That hasn't been her name since she divorced
Author Jack Kirkland and married Editor
Bolton Mallory.
A CERTAIN famous New York hairdresser
■■ was in a rage a few weeks ago to read in a
newspaper that he was responsible for a per-
manent wave of Norma Talmadge's hair which
made her resemble nothing so much as a Fiji
Islander.
The truth of the matter was that he had
given Norma the wave but she refused to let
him set it afterwards, saying she liked to do
that herself, with the consequence that her
hair stood out like a porcupine's bristles, when
she was seen at lunch at a prominent cafe half
an hour later.
TIT ALTER HUSTON wasdiscuss-
* " ing a thirty foot fall from a
scaffolding on a picture set.
"Did all your sins flash through
your mind while you were falling?" a
friend inquired.
"Great Scott! I said I fell thirty
feet, not miles," Huston answered.
"rT"'HE New Gretna Green," a yarn you'll find
■*■ in this month's Photoplay, tells all about
the movie marriages that take place in Yuma,
Arizona. Maybe if the stars who elope to this
little Western town knew about the first
elopement that took place there and its disas-
trous ending they'd think twice. Harry Carr
tells the story in the Los A ngclcs Times Maga-
zine.
Her name was Juanita, the first Yuma
eloper, and she was a beautiful, sloe-eyed
senorita. Her groom was a gay and handsome
blade but old true love got to running in
circles and one night the groom said, "I've
got a notion to cut out your heart." Where-
upon Juanita, with a simple twist of the wrist,
whipped a knife out of her stocking and cut
his heart out instead. Just a sweet girl !
'"THERE'S a very, very naughty burlesque
■*■ show on Main Street in Los Angeles called
"The Follies." It's Parisian, you know, and
sort of — well, not the kind of place you'd take
your grandmother.
But what do you suppose? Mary Brian was
there one evening — wearing a wig.
According to Mary this comes under the
general heading of Searching for Sophistication.
"D Y the grace of heaven and the gods of the
■"-^cinema "The Greeks Had a Word for
Them" is ready for release. And they're call-
ing the sets where the piece was filmed "the
battle fields."
First, all the women players, Ina Claire,
Joan Blondell and Madge Evans objected to
the Chanel designed clothes and they had to
be remade.
Then, three times during production actor-
director Lowell Sherman walked off the set
swearing by his waxed moustache that he'd
never return. The reason for the walk-off s was
supervisor interference. The bosses would look
at his stuff, shake their heads and say, "No,
we don't like it that way. We want Ina Claire
in a soft and creamy mood."
[ PLEASE TURX TO PAGE 96 ]
This isn't a contest, you know. There are no awards or prizes offered for the completed faces, so please don't send them to
Photoplay. It's just a bit of nonsense that's a lot of fun to work out — a cure for insomnia or a way to keep the boy friend
entertained. Here are two of the fairest girls of the screen, although you can't tell it with their faces all cut up like this. One
is a "hey-hey" girl who went dramatic and the other is a young divorcee. Get busy and put them together again
95
96
Photoplay Magazine for February, 1932
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Because it is based on a marvelous color prin-
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Tangee leaves no greasy smear or
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' Name
* Addrtis
Cal York's Monthly Broadcast
From Hollywood
[ CONTINUED FROM PAGE 95 ]
r~* ARY COOPER may be nursing a broken
^-'heart but his flight into Egypt isn't a
lonely one. He is in a party which includes
Captain White, the archaeologist, Woolworth
Donovan, grandson to the Woolworth and
Countess di Frasso. Yes, the Countess is the
latest woman in whom Gary is supposed to be
interested. Gary is sick of Hollywood and will
be gone longer than any of you think.
ONE of Jimmy Cagney's best
friends tells this yarn. Seems
Jimmy was afraid for his mother to
see that gruesome ending of "The
Public Enemy" — the ending that
spoiled your sleep for a week. So he
wrote his brothers and told them to
keep his mother away from the show
when it played the home town.
But his mother slipped off, saw it
and wrote to Jimmy, "They could
have done much more with that pic-
ture. The ending was weak."
"KTOW everybody knows why Jimmie Dunn
■*■ ^ was so burned up when the story of his
engagement to Molly O'Day got into print,
and why he denied it so vehemently. June
Knight is the real love in Jimmie's life and
when she came to Hollywood to fill a dancing
engagement at the Roosevelt Hotel, Jimmie
had a lot of explaining to do.
Well, the explaining was to the effect that
he and Molly had known each other since they
were kids and, both being Irish and all that,
and love never being a question they simply
palled around together for a spell. June be-
lieved him and that makes everything dandy.
She thinks Jimmie is a swell guy.
T ILA LEE has recovered from two ailments
-'■"' — the nervous breakdown that sent her to a
sanitarium in Arizona and later to Tahiti; and
her love for Johnny Farrow. And Hollywood
is rejoicing on both counts.
As Lila returns, writer and man-about- town
Johnny goes to Europe. It was he, you remem-
ber, who was Dolores Del Rio's steady beau
before she married Cedric Gibbons. And it was
also he who played around with Maureen
O'Sullivan while Lila was in the sanitarium.
Then there was a Pasadena society woman
who cut in on the Hollywood belles for a time.
And yet not a woman went to the boat to see
Johnny off. He said he wasn't returning. So
long Johnny!
TTERE'S Lew Cody's latest story.
^*- Seems there were seven
Scotchmen who went into a livery
stable to rent a horse and buggy.
"Why, it's impossible," said the
livery stable man. "Seven of you
in one buggy!"
"Oh, that's all right," said the
Scots, "we've all got whips."
"TOM MIX says he won't make a picture in
■*- which he has to smoke, drink or use a
revolver. He doesn't want his kid audience to
get bad ideas. . . . Six women fainted from
emotion when Lawrence Tibbett sang at a
benefit ball in Baltimore. . . . Maurice Che-
valier's wife, Yvonne, is back in Hollywood to
quiet those rumors about Maurice — or some-
thing. . . . Buddy Rogers and Flo Ziegfeld
are holding conferences. Buddy may go in the
new show. . . . Buster Keaton is leaning over
backwards to give Jimmy Durante the breaks
in "Her Cardboard Lover." So they can't say
Buster is jealous of another comedian. . . .
The Siamese twins playing in "Freaks" are
that way about Bob Montgomery. But the
one on the left likes him the best.
npHEY were discussing the over-
•*■ production of wheat. "It's ter-
rible," Robert Woolsey said woe-
fully.
"But it might be worse," Bert
Wheeler piped up cheerfully. "Just
suppose it were spinach!"
JACKIE SEARL, "the kid you'd love to
J spank," is going to be a good boy in his next
one. Another villain gone ga-ga. . . . Eddie
Robinson is off to Paris to study the under-
world there seeking local color. A lot of folks
do it but don't have Eddie's alibi \nn
Harding gave drawn-work handkerchiefs to all
her friends for Christmas. She made them her-
self between scenes of "Prestige". . . . Lon
Chaney's fan mail is still enormous. It is all
from foreign countries and the writers ask
when he's going to play in another picture. . . .
Madge Evans has never had a make-up test.
Cameramen say she has the "perfect photo-
graphic face." ... A second son of a famous
English family makes a good living instructing
directors and actors in correct English atmos-
phere for the smart pictures.
ANN HARDING complained for a week,
■* ^before she left California on location, of
"neuritis" in her shoulder. She had no idea it
was dislocated until it became so painful at
Jacksonville, Florida, that she left the train to
see a doctor.
She thinks it must have been out of place at
least ten days earlier while working in the fake
jungle on the back lot of the RKO-Pathe
studios on scenes for "Prestige." This entire
picture describes the effect the Chinese jungle
has upon a woman and her husband. RKO-
Pathe scouts could discover no jungles com-
parable to the Chinese ones in California. So
they sent the whole company to Florida.
GABLE'S Beauty Salon across from the
Paramount Studio has doubled its business
since the sudden popularity of Clark Gable.
Somehow the impression has circulated
throughout the neighborhood that the shop is
operated or financed by "What-A-Man"
Gable and that he may drop in any minute.
There is a large framed picture of Clark,
placed in the shop by the shrewd owner of the
establishment, who incidentally has never seen
the Great Moment.
" W/OMEN are all alike," muses Lew Cody,
^* with a knowing gleam in his right eye
and a lift of his lift eyebrow. And then he tells
about the time he went through San Quentin
prison recently. There he saw Clara Phillips
(in for life), and she greeted him like this:
"Oh, Mr. Cody, I'm so sorry you came today.
I've just washed my hair and it looks terrible."
Photoplay Magazine for February, 1932
T\ TELL, little Jean Harlow got her way —
•^ part way.
She was very upset about that measly $350
producer Howard Hughes paid her while he
was renting her platinum locks for four figures.
So, when her checks arrived by mail each week,
she just didn't cash them. Then, she cashed
them all at once and dashed to New York on
the accumulation.
Only, she's gotten a promise. After this, she
gets half of what Hughes gets above her $350
a week!
"TTOLLYWOOD'S favorite sport of the mo-
■^■ment is polo . . . Clark Gable, Bob Mont-
gomery, Jack Holt, Ricardo Cortez and Big
Boy Williams are all good players. . . . Job-
yna Howland who weighs — well, more than
Marie Dressier — wears a white, form fitting
athletic sweat shirt at the studio. . . ; Anna
May Wong has never been to China. . . .
Roland Young's hobby is collecting china
penguins ... He now has over 300. . . ;
Eddie Robinson made more money for the
Warner Brothers than any other of their stars.
. . . Jack Pickford is almost well again, after a
nervous breakdown that almost cost him his
life. . . . And Barbara Stanwyck is going to
do the old Colleen Moore role in a talkie
version of "So Big."
The Shadow Stage
The National Guide to Motion Pictures
(REG. tl. S. PAT. OFF.)
[ CONTINUED FROM PAGE 51 ]
THE SECRET WITNESS— Columbia
SEE this if for no other reason than to chortle
over ZaSu Pitts as the flustered telephone
operator — she's grand. This is another mys-
tery with a double murder and two suicides
i oh, you get used to them dropping around!).
You'll probably spot the murderer before the
showdown, but it's entertaining. Una Merkel
is an amateur sleuth, William Collier, Jr., the
deeply involved hero.
MEN OF CHANCE— Radio Pictures
A SMOOTH, snappy story that moves along
■*»■ at a brisk pace. The plot of the woman
who betrays her gambler husband is an old one,
but here it has a certain spontaneity that holds
the interest to the end. Ricardo Cortez as
Johnny Silk of the race-track gives a clean-cut
performance. Mary Astor as the bogus count-
ess is thoroughly believable. Worth seeing.
FORBIDDEN— Columbia
BARBARA STANWYCK, Adolphe Menjou
■'-'and Ralph Bellamy contribute fine per-
formances to a gloomy "wages of sin" story.
Barbara, in trusting youth and disillusioned
middle age, is the unwed mother who sacrifices
herself and child to her lover's political career.
A chance to see this new and interesting lead-
ing man, Bellamy, in a role where he's not blind
or crippled. Great for those who like their
tragedy straight.
ALMOST MARRIED— Fox
A COMPETENT cast struggle hard with a
•* *■ weak, incoherent story, silly dialogue and
careless direction. Many situations are left
unexplained and border on the ridiculous.
Alexander Kirkland, as the mad musician,
tries hard but brings little sincerity to the part.
Ralph Bellamy and Violet Heming, whose
voice is lovely, handle their parts adequately.
A BIG HIT
The new favorite for
washing fine silks—
Ivory Snow is pure Ivory Soap! And
dissolves in lukewarm water!
This combination of two unrivaled
virtues means perfect safety and
speed when you wash fine things.
No need for hot water with Ivory
Snow. No waiting for suds. Just
lukewarm water, Ivory Snow, and
swish — every tiny Snow-pearl is a
fluff of suds. No undissolved soap
left to cling to the fabric.
For chiffon stockings, or fine lin-
gerie, for 6oft little baby woolens —
perfect safety! And if you try Ivory
Snow for dishes, you'll have a pleas-
ant surprise. Such suds — a regular
beauty-bath for your hands!
You can use Ivory Snow gener-
ously too, for the big 15^ box con-
tains enough pure Ivory to protect
hundreds of dollars worth of fine
clothes through many silk-and-wool
washdays.
Silk and woolen
manufacturers agree
"A perfect soap for silks," say
Mallinson, Cheney Brothers and
Truhu. "The ideal soap for woolens,"
say the weavers of the fine Biltmore
Handwoven Homespuns, the makers
of downy Mariposa blankets and the
Botany Worsted Mills, leading wool-
en manufacturers, to mention only
a few.
C 1932. P. £ G. Co.
99 /ioo /o
PURE
When doctors
approve
you're perfectly
safe
Photoplay Magazine for February, 1932
THE BIG SHOT—RKO-Pathe writer fails him miserably. Minna Gombell
ArowAi rjj' /-> ii u- i j and Roscoe Ates are satisfactory. Story is one
TYPICAL Eddie Quillan vehicle crammed of those rcvcnge things with O'Brien doing the
impossible to save pretty Cecelia Parker, but
lour doctor has certain definite standards
which he demands of a laxative before he will
give it his approval.
Here are the requirements which the doctor
considers important:
What the Doctor
demands in a Laxative
A laxative should limit its action to the intes-
tines.
It should not rush the food through the
stomach.
It should not disturb digestion.
It should be safe — and not be absorbed by
the system.
It should be mild and gentle.
It should not irritate and over-stimulate the
intestines.
It should not gripe.
It should not be habit-forming.
Ex-Lax checks on every point
Ex-Lax meets every one of these specifications!
Ex-Lax is a scientific formula for the relief
of constipation — pleasantly and effectively.
The only medicinal ingredient of Ex-Lax is
phenolphthalein — a laxative that is interna-
tionally recognized by the medical profession.
And it is the special Ex-Lax way of com-
bining a delicious chocolated base with the
scientific laxative — phenolphthalein — of the
right quality, in the right proportion, in the
right dose — that accounts for the fine results
millions get from Ex-Lax.
Ex-Lax acts by gently stimulating the bowels
to action — naturally and surely. It exercises
the intestines — it does not "whip" them! It
does not gripe — nor is it habit-forming.
Get Ex-Lax from your druggist in ioc, 25c,
or 50c boxes. Or mail coupon for free sample.
K
eep
regular" with
-LAX
— the safe laxative
that tastes like chocolate
MAIL THIS COUPON— TODAY !
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Please .send free sample of Ex-Lax.
Name
Address
TYPICAL Eddie Quillan vehicle, crammed
full of clean entertainment. He is the
small-town boy, forever trying to put over
business in a big way. Eventually he does.
And you will like him doing it. Maureen
O'Sullivan is the charming girl whom he finally
wins. Belle Bennett is the mother, and Arthur
Stone is excellent.
HUSBAND'S HOLIDAY— Paramount
TTHIS snaps into a fine start but slumps to an
•*- indifferent ending, although it's amusing.
Give Brook vacillates between wife and seduc-
tive siren. Vivienne Osborne is splendid as the
wife; Juliette Compton an alluring side-interest
and Charlie Ruggles an amusing hen-pecked
husband. Well worth an evening.
LAW OF THE TONGS—
Willis Kent Prod.
\A ELODRAMA that will satisfy any aver-
^■'■age audience. In this case, a Chinaman
becomes the benefactor and rescues a girl.
Later it costs him his life, in a manner that
gives you a lump in your throat. Phyllis Bar-
rington is the pretty girl, and Johnny Harron
her sweetheart. Jason Robards, as the kind-
hearted Chinaman, is excellent.
THE
UNEXPECTED FATHER—
Universal
ANOTHER little girl adopts a bachelor
daddy. And the usual fun begins. The
plot's stale, but the lines are sparkling, al-
though risque in places. It has Slim Summer-
ville's grin, ZaSu Pitts' waving hands and
Cora Sue Collins. Wait till you see Cora Sue.
Just four, and walks away with everything.
Put this down for a blue day. You'll get a
laugh out of it.
DEVIL ON DECK—Thrill-O-Drama
NOTHING particularly new about this
story or the handling. A young girl is
shanghaied aboard a ship and finally killed.
Her brother plots revenge. The wicked captain
finally meets his fate. Molly O'Day is the
leading lady and June Marlowe the ill-fated
girl. Reed Howes is the likable leading man
and Wheeler Oakman a good villain. Rather
mild.
MAKER OF MEN— Columbia
NOW the coaches are getting a hand in foot-
ball pictures! Here a coach grooms his son
for football glories, only to have the boy quit.
It's an appealing story, due to the fine work of
Richard Cromwell as the son — but it will drag
a little for you who are not rabid football fans.
Jack Holt makes a convincingly domineering
father.
THE STRUGGLE— United Artists
OLD Demon Prohibition Rum makes bum
out of honest working man. Papa, full
of red-eye, gets D. T.'s and chases tiny tot
around ruined garret, a la Lillian Gish while
audience snickers at phony thunderstorm.
"Father, Dear Father, Come Home With
Me Now" and "The Face on the Barroom
Floor" done in the manner and with the
technique of the early Biograph pictures. New
invention of talking pictures makes characters
actually talk. Sodden wreck rolls in gutter
while radio squeaks "Abide With Me." It's
all too sad. Hal Skelly tried hard to save it,
but even his good work was of no avail. Di-
rected by D. W. Griffith, who sixteen years
ago made "The Birth of a Nation."
THE RAINBOW TRAIL— Fox
WESTERN, with some grand scenery which
dwarfs a weak story and mediocre acting.
George O'Brien tries hard, but the scenario
somehow you don't seem to care.
IS THERE JUSTICE?— Thrill-O-Drama
A GOOD cast, consisting of Henrv B. Walt-
hall, Robert Ellis, Blanche Mehaffey, Rex
Lease, Helen Foster and others, fails to make
this very entertaining. The experiences of a
vicious district attorney, some crooks and a
newspaper reporter, with the conviction of in-
nocent parties, make the plot. It comes
through with a happy ending.
BRANDED MEN— Tiffany Prod.
Hw
[AVE you been missing those old-time
,'estern thrillers? Then see this- — it has
everything. A sheriff's life isn't worth a nickel
in Deep Gulch. The saloon is run by the bad
man of the town and there are hoss thieves, a
beauteous blonde, people pushed off cliff: and
hard riding. Ken Maynard and that grand
horse, Tarzan, rescue the fair damsel. June
Clyde.
THE DECEIVER— Columbia
IAN KEITH makes his matinee idol role con-
vincingly villainous, but the plot of this
backstage murder mystery limps. You know
the story by heart — he's a wicked deceiver of
young girls and gets his just punishment. You
won't believe it when you behold the matinee
audience all dressed up for the evening per-
formance! Just one of those little costuming
slips. Dorothy Sebastian and Lloyd Hughes
play lovers.
ANYBODY'S BLONDE—
Action Pictures
IN the Hollywood vernacular this is "just a
quickie" but there are plenty of well-timed
punches, a lot of laughs and good direction.
It tells the story of a prize-fighter who is mur-
dered and his newspaper reporter sister who
finds the guilty one. Reed Howes and Dorothy
Revier do neat work of their respective jobs
and Henry B. Walthall is fine.
THE POCATELLO KID—
Tiffany Prod.
GIYE Ken Maynard a Wild West setting, a
cause to champion, a lady to save and his
good steed, Tarzan — and you have a fast
shooting Western. Twin brothers, both crooks,
but one redeemed by love, complicate this old
plot. Marceline Day is the damsel in distress.
There's a hoof beat a minute, if you like that
sort of thing.
EXPLORERS OF THE WORLD—
Raspin Prod.
HERE'S the big tent show of all the ex-
ploration pictures. Six of the outstanding
explorers of the world are gathered together,
each to tell in his own words and with his own
pictures, the story of adventure. Harold
Noice, famed for Brazilian exploits, is master
of ceremonies, introducing such famous ex-
plorers as Gene Lamb, Harold McCracken,
James Clark and Lt. Commander Stenhouse.
Fine photography of strange beasts and their
haunts.
BEN HUR—M-G-M
EXAGGERATED gestures take the place of
words the screen hadn't yet learned to
speak, back in 1925. But. enlivened by a
musical score and noisy "sound effects," it's
still eye-tilling photography and thrilling ac-
tion—that chariot race, for instance! Francis
X. Bushman breathes fire into Messala, No-
varro is a handsome Ben Hur, Carmel Myers
the kind of "vamp" who used to send Garbo-
thrills down audience spines.
Photoplay Magazine for February, 1932
99
Any Woman Can
Be Beautiful
[ CONTINUED FROM PAGE 33 ]
Constance Bennett came to me to put on
weight she went to bed three nights a week at
nine o'clock, and I guess if a girl as popular
and as gay as Connie Bennett can give up a
few hours' enjoyment for beauty you can.
Here's your menu:
Breakfast
Big glass of orange or grapefruit juice
Twenty minutes later
Dish of hominy with ripe sliced bananas and
certified milk and sugar
Coffee or tea with sugar and cream
Toast with plenty of butter and jam if you
like
(Two hours before luncheon a big glass
of tomato juice if possible)
Luncheon
Bowl of thick soup
(Cream of mushroom
or
Cream of tomato
or
Cream of celery
or
Thick vegetable soup
or
Chicken okra with rice or noodles)
Green salad and often half an avocado
Spaghetti (with butter — allowed to melt
after the food is off the fire)
or
Egg noodles (with butter)
Chocolate or rice or bread pudding
or
Cup custard
or
Stewed fruits with cream
Bottle of certified milk
(In the middle of the afternoon a glass of
milk)
Dinner
Fruit cocktail
Soup (cream or clear)
Any sort of meat that is broiled or roasted,
and gravy; but skim off the fat — it's hard to
digest.
Two vegetables (creamed or with butter, and
put the butter on after the vegetables are done.
Use plenty)
Glass of milk
Cup custard
or
Ice Cream
or
Pudding
(Beware of pies unless you are sure you can
digest them.)
TN the morning step under a lukewarm
■^shower and then, with a body brush and soap
rub your body briskly for five minutes. Step
back under shower and wash off soap. If you
can stand it finish with a cold shower. If you
don't react properly (that is, feel a warm glow
afterwards) don't do this.
With a rough towel rub your body for ten
or fifteen minutes, working hard on the spine.
(You thin girls can get your arms around to
your back.)
Rub and rub and rub.
Ride to work. Don't walk too much.
You can swim (the plump girls shouldn't
do too much of that).
does the SOCIALITY woman wear
TINTED nails or NATURAL?
XjOtJl I She vanes her polish
with her gown, using all colors
from palest to deepest . . . says
world s authority on manicure
To tint or not to tint . . . any really
smart society lady would sniff — smartly,
of course — at such a narrow point of view.
The instant she saw the new nail shades
she realized that the big idea was Variety.
She suited her actions to her words and
now you can only guess what color nails
she'll appear in if you know what color
frock she's going to wear. ^Tiich she
knows simply makes her more devastating!
So if you want to keep up with "Smart
Society," get out your wardrobe and de-
cide now what nail tint you'll wear with
which frock. See how much more interest
the oldest rag has with new nails! It's all
worked out for you by an expert in the
chart at the right.
But don't forget that quality counts!
Cutex Liquid Polish simply hasn't a flaw
... It flows on smoothly, dries practically
instantly. It is safe from all temptation to
peel, crack, streak or fade. And is blessed
with an ability to gleam for days on end.
Pick your favorite shades today.
FOLLOW THE EASY CUTEX MANICURE . . .
A booklet in every package describes it in de-
tail. Give your nails this simple manicure
Natural just slightly emphasizes the
natural pink of your nails. Goes with aii
costumes — is best with brij>ht colors —
red, blue, fcreen, purple and oranfte.
•
JK.OS6 is a lovely feminine shade, flood
with any dress, pale or vivid. Charminfc
with pastel pink, blue, lavender . . . smart
with hunter ftreen, black and brown.
•
Coral nails are bewilderinfily lovely
with white, pale pink, beifte, ftray . . .
black and dark brown. Wear it also with
deeper colors (except red) if not too in-
tense. «
Cardinal is deep and exotic. Con-
trasts excitingly with black, white, or pale
shades. Wear Cardinal in your festive
moods — be sure your lipstick matches!
•
ColOrl6SS is conservatively correct at
anytime. Choose it for "difficult" colors!
each week . . . once a day push back the
cuticle and cleanse the tips with Cutex
Cuticle Remover & Nail Cleanser. Before
retiring, use Cuticle Oil or Cream.
Nobtbam Wabben, New York, London, Paris
2 shades oj Cutex Liquid Polish and
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I enclose \ii for the new Cutex Manicure Set, which in-
cludes Natural Liquid Polish and one other shade which
I have checked ... Q Rose D Coral D Cardinal
IOO
Photoplay Magazine for February, 1932
HE VOWED HE'D BE
A bachelor, but
Her Eyes
Captured
Him!
You, too, can quickly attain
captivatingly clear, bright
eyes this safe, easy way
Many a romance has had its start in a pair
of clear, sparkling eyes. Yet most women
neglect their eyes shamefully I If given daily
attention like the skin, teeth and hair, they
will soon attain a clearness and brilliance
that will amaze and delight you.
To keep your eyes clear, bright and full
of life, nothing equals time-tried Murine. It
dissolves the dust-laden film of mucus that
makes eyes look dull, and by its gentle as-
tringent action reduces bloodshot veins. This
soothing, cooling, harmless lotion should be
applied each night and morning... regularly!
Unlike mere eye washes, Murine requires
no insanitary eye cup. It is hygienically and
conveniently applied with its combination
eye dropper and bottle stopper. 150 applica-
tions cost but 60c at drug and department
stores. Ask for a bottle today! For free
Eye Beauty and Eye Care booklets, write
Murine Co., Dept. A, 9 E. Ohio St., Chicago.
T
I
MAKE THIS TEST! Drop Murine in one eye
only .... then note how clearer, brighter and
larger in appearance it very shortly becomes.
A nd also how refreshed and in vigorated it feels !
in
coo Y°"«
ELY^ES
Photographer Tom Collins, who took the picture (on the right* of Jimmy
Walker, claims that the Mayor of New York has a better profile than the
famous one of John Barrymore (left i. What do you think?
Approved by Good Housekeeping Bureau
Your exercises should be taken before
dinner. Put a sheet on the floor, loosen your
clothes and lie down. With arms above head
twist and stretch your body. Then pull your
legs up and move them back and forth in a
scissors movement (as I am doing in picture D).
Then, with legs together, pull your knees
to your nose (as I am doing in picture E) and
straighten them again. Also, with your legs
and in the same position make the gesture of
riding a bicycle. Finish off by stretching your
spine and your whole body with arms above
head. Do this for twenty minutes.
When you walk keep your shoulders back.
THERE — that's all, more than enough sleep,
the morning shower and rub, the diet and
the night's exercise. And if you do this I guar-
antee that you'll gain the fifteen pounds that
the plump girls lose in the first month.
It sounds simple to read it. It is simple,
really, and it's fun, too, but it takes stick-at-
ive-ness and courage. I know it takes courage
and that's why I'm so proud of those who do
it. You'll be proud, too, when you watch
yourself grow lovely and when you realize
that you're doing it yourself and not de-
pending upon me to pound you, as those lazy
stars did.
XTEXT month I'm going to start giving you
■*-^ exercises that reduce you in spots and build
you up in spots and also I'm going to give
special diets for special disorders.
At the same time I'm going to start you
out to improve your face — you can do that,
too.
Come on girls, pitch in. Do this for Sylvia —
and for yourself. Think how beautiful you
can look. But don't kid yourself and don't
alibi. Just do it and do it and do it!
And if you need it and won't do it, don't
waste your time reading my articles in
Photoplay. Any plump girl who is too lazy
to help herself can go on gaining weight and
become a big, fat slob for all I care.
Whom Would You Leave In The Desert?
[ CONTINUED FROM PACE 71 ]
I AM a sophomore and our sorority had a lot
of fun with your dilemma game. We put it
up for general vote to see which ones would be
chosen. Here are the ones that were saved
by an overwhelming majority!
Joan Crawford was a unanimous choice be-
cause we think she typifies the sort of girl most
of us would like to be.
Clark Gable and Gary Cooper because we
get a big kick out of their pictures and per-
sonalities.
Bob Montgomery because he's our ideal for
a big moment!
Constance Bennett, Marlene Dietrich and
Greta Garbo because they are so keen, so
sophisticated.
Not that we don't like the other four — but
we couldn't save them all, could we?
Mary Lee Sudduth, Birmingham, Ala.
WELL, your dilemma game certainly gave
me the opportunity I've been looking for!
A chance to get rid of a few stars that don't
deserve the ballyhooing they are getting.
Clark Gable heads my list. How does he
get that way? He muffs every big part he gets.
Let him perish, say I.
Then you can lose Jean Harlow, Lupe Velez
and Bill Haines and I will never miss them.
They all think smart-aleck tricks make up
good acting.
I wouldn't be so keen on saving Clara Bow
or Xancy Carroll but they aren't as boring as
the other four.
Photoplay Magazine for February, 1932
IOI
Constance Bennett gets tiresome but she
always pleases the eye. She certainly has
grabbed off Gloria's title of being "a clothes
horse," as well as her husband.
The rest I would rescue any day — they are
real.
Li hise Jefferson, Los Angeles, Calif.
When Nordic Met
Latin
[ CONTINUED FROM PACE 45 ]
here that Garbo and Novarro met for the
first time before the camera.
"I felt very strange and I imagine Miss
Garbo also felt some restraint at the time,"
relates Novarro, recalling the incident. "She
was so very charming, however, that I felt
instantly comfortable.
"There was a total absence of the tension I
feared.
"The instant she begins a scene, her whole
being seems to change. At once she was Mala
llari and not Greta Garbo. It is a great
pleasure to work with so magnificent an
artist. You find yourself living the role, not
merely acting it. The energy she expends in
her work is amazing. She is not satisfied with
only pleasing the director.
"Often, after a scene is okayed, she will
plead for a chance to make it again, believing
her performance inadequate. .
"When we began work together I discovered
Miss Garbo did not care to rehearse. It was
her habit to walk into her scenes and go right
through with them.
"She knows the story, the dialogue by heart
before production begins.
"But it is difficult for me to work that way.
International
That Karen Morley girl is always
wearing some new gadget and always
looking pretty grand while she's doing
it. So long as you wear 'em, Karen,
we'll publish the pictures. This
jewelry invention is called the triangle
tango and is a ring bracelet that en-
hances the left hand as it rests on the
table of a smart supper club. Hot-
cha-cha !
The endless
Beauty Contest
no woman
can avoid
Buy a dozen cakes of Camay — the world's finest, safest beauty soap. Long be-
fore the dozen is gone, you'll find that your skin has regained soft, natural,
flower-petal loveliness which makes children's skin so appealingly beautiful.
Immaculate cleanliness! It V the background
of all loneliness! But use only the gentlest,
the safest, of beauty soaps on that precious
skin of yours!
e=3
Do children nvelcome your presence? Like men, they
have an unerring eye for clean, natural loneliness!
When their active little minds accept you as attrac-
tive, you knonv that you have won another Beauty
Contest — and a hard one at that !
The lather from gentle Camay — the Soap of
Beautiful Women — will give you the finest
beauty treatment you have ever had! Never
let a lesser soap even touch your skin !
A brief minute with gentle Camay lather, a soft cloth, and warm water; then
a quick, cold rinse — and your skin has been freed from the film of invisible dirt
which clogs pores and dims the natural, shell-like beauty of your skin. Your face
glows with fresh loveliness, and is ever so soft and smooth. But trust only Camay!
73 of America's leading skin doctors praise Camay as being delicate enough, safe
enough, for your skin. You are in a Beauty Contest that goes on all day long
. . . every day of your life. Let Camay — and Camay alone — help you win!
c
A MAY
1932. P. 4 G. Co.
THE SOAP OF BEAUTIFUL WOMEN
102
Photoplay Magazine for February, 1932
;'PU(!ITY
important,
girls?
Have you ever avoided gazing into his eyes
. . . because you're afraid of close scrutiny?
Ever had the disappointment of donning
your favorite hat, and discovering it ex-
posed an unlovely cheek? Do you sometimes
hesitate to face the cruel, bright daylight?
Of course, heavy powdering will cover
up the blemishes. Yet this is the very thing
that aggravates your skin. And besides . . .
men hate "that powdered look."
You say, "What's a girl to do?" The
answer's easy: Use powder that is pure, lm'
pure powders cause irritations and blemishes.
Only powder that is pure can protect your s\xn.
And powder that is pure and fine means
protection plus beauty. Luxor powder is made
in scientific laboratories, of only the purest in'
gredients. Its sifted through tight' stretched
sil\ to ma\e it fine and soft. It will bring a
new, smooth transparency to your sJrin . . .
the radiance and bloom of pure beauty.
Luxor products are not costly: ^~ r^Ss-
face-powder, 50 cents a box, /L ~-r^
rouge 50 cents, lipstick 50 cents.
Luxor, Ltd.
Luxor, Ltd., 1355 W. 31st St., Chicago, 111.
I guess purity is important. Here's ten
cents for a sample of the pure face-pow-
der. (Check)— Rachel, Flesh, White.
PP-A
J^ame
Address
I raid rehearsals to make myself certain I
understand exactly how a scene should be
played. I like to rehearse with the lights,
camera, microphones, just as it will be when it
is actually filmed. When Miss Garbo realized
my method of working differed from her own,
she graciously offered to rehearse.
"/""NFTEN, while the new camera angles were
^■^being lined up on the set, we would sit in
her little portable dressing-room and go over the
lines together. Other times she would prefer
to walk outside and run through the dialogue
as we strolled the streets between the stages.
"During our conferences with Mr. Fitz-
maurice on the set, Miss Garbo never was
arbitrary in making demands. Her ideas are
sound and studied. She has a comprehensive
knowledge of picture technique and nothing is
too much trouble for her if it means anything
to the picture. If a point tended to bring a
discussion to the borderline of disagreement,
she always managed to smooth it over with a
joke. She has a grand sense of humor and
loves to 'kid.' She is warmly interested in
every detail of production and seems to enjoy
her work with more than ordinary relish.
"When our first scene was finished, the still
cameraman set up his camera to take the first
still pictures in which we appeared together.
In it we posed in the doorway to the luxurious
chamber in which the love scenes were played.
As we posed both of us seemed suddenly self-
conscious. In a way, it was a test. Perhaps
she felt I was watching to see if she would
'upstage' me, a trick to hold the center of the
picture. Or possibly she was waiting to see
if I would try it on her. It is strange, but little
things sometimes mount to enormous pro-
portions. Whatever it was that made me
feel tense at the moment, vanished the second
I heard the camera shutter click. She looked
up and laughed at me. We were friends.
"The day we worked on the long scenes in
Mala Ilari's apartment she wore that gorgeous
costume made of many thousands of beads.
I think it weighed something more than fifty
pounds. Naturally it was very fatiguing, going
over the scenes, again and again, to get the
correct camera lines and working out traveling
shots.
"TT got to be pretty close to five o'clock
-'■and Miss Garbo was beginning to look tired.
Mr. Fitzmaurice was intending to take the
scene from another angle when he looked up
and saw Miss Garbo removing the elaborate
headdress and shaking the hairpins from her
head. She smiled graciously, said goodnight,
and said she would see us at nine o'clock in the
morning. No word of complaint or apology.
She came to work early in the morning and
worked steadily until five at night. That's
all there was to it. No T go home!' as I
"They wanted me to take a lousy grand a week, the gyps"
Photoplay Magazine for February, 1932
103
heard so much about. Just an independence
and courage to do what she believes the right
thing.
"Her emotional intensity is genuine. Her
role acts as a complete metamorphosis. It is
an inspiration to work with her. Tem-
perament? She is too timid to storm, even if
she chose to. She is more like a girl than a
woman.
"I don't know what people expected would
happen when we were put opposite each other.
But it was the happiest experience of my entire
career!"
Will Marlene Break
the Spell?
[ CONTINUED FROM PAGE 76 ]
in England he met a strange little man inter-
ested in art and belle lettres, who told him, " The
only way to succeed is by making people hate
you. I intend to bring myself to the attention
of the higher and mightier ones by making
them remember me as someone whom they
hate."
This was, of course, Von Sternberg. He has
succeeded.
When he was starting out in the business, a
famous director who wanted to help him said,
"I believe you can be a director. In three
months I could teach you to be one."
To which Von Sternberg replied, "It would
take me longer than that to teach you to
direct."
Once Von Sternberg was employed by
M-G-M. His first picture was put into the
hands of a supervisor who disliked him. The
finished result was a botch. Von Sternberg
was, at the time, in the midst of directing Mae
Murray. When he saw the result of his first
M-G-M attempt he walked on his set one day,
turned his cameras heavenwards, took a
hundred feet of film showing the cobwebbed
rafters of the stage's ceiling and, with this
magnificent nose thumbing gesture, left the lot
never to return.
Yet there is a legend which says he used to
stand in the doorway of his house upon a hill
and, throwing his sensitive hands toward the
lighted panorama of the city below, cry in
childish ecstasy, " My Hollywood ! " And that
he would listen for the purr of cars coming up
the hill and when he knew that he was to
have visitors he would run into the house and
seat himself in a high backed chair with an
erudite book (title carefully displayed) before
his face.
I COULD go on and on recounting Von Stern-
berg yams, but perhaps there are enough to
show you that the man is a trifle mad — yet he
comes darn close to being a genius.
Finding life falling short of his fantastic
ideal, he has built up in his films a world of his
own, peopled with great heroic characters,
women with incredible brains, women who
make incredible gestures, women who behave
not at all as we, who have wiped the star dust
from our eyes, expect human beings to behave,
but women who, if they existed, would cer-
tainly give the dish of life a French sauce of
romance and color.
And now we come to Marlene.
Von Sternberg has created her in the image
of these women about whom he dreams and
whom he crystallizes upon a screen. He saw
her, as Stiller saw Garbo, a piece of clay waiting
for his hands to mould.
But Stiller saw Garbo as an actress. What
she did off screen did not matter to him as
long as she loved him.
Von Sternberg does not want love from
Marlene. But he, being a different type of
man from Stiller, wants more.
He has tried to mould her not only as an
actress but as a person.
COLDS
make handkerchiefs
dangerous
Prevent self-infection by using KLEENEX
disposable tissues — 50c size now 35c
THE common handkerchief is now known
to be an almost unbelievable source of
danger during colds.
When you have a cold, thousands of germs
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time you use it. These germs are carried
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They're spread through the air, they con-
taminate clothing and laundry bags.
Now — a health handkerchief!
When you have a cold, use Kleenex! These
exquisite tissues are superior to handker-
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laundering alone!
So you use each tissue but once. Then you
destroy it. Completely. And destroy germs too.
You need never touch a soiled, damp, hand-
KLEENEX ?',ssTuaEs
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Price reduced one third!
And now Kleenex costs much less than ever
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now costs but 35c, at any drug, drygoods
or department store. Never pay more.
At this low price, you 11 find Kleenex more
useful than ever. Use it for removing face
creams, blot up those fine impurities that
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ing and blending make-up.
1 KLEENEX COMPANY
I Lake Michigan Bldg.,
| Chicago, Illinois.
| Please send free trial supply of Kleenex.
| Namf
Street-
City
..State..
In Canada, address: 330 Bay St., Toronto, Ont.
Germ-filled handkerchiefs are a menace to society!
ic>4
Photoplay Magazine for February, 1932
"Oh, Beth,
I asked
Mrs. Dobbs
at the beauty
shop
" ' what to do
about my rough
-'dish pan hands' "
"What did
she say ?"
*rl "You'll be
surprised !
J Just to use
jg4 ' *Wffi| Lux instead
' IV i 1 of ordinary
soap! ... It gives your hands
beauty care in the dishpan!'*
A HINT FROM
305 FAMOUS BEAUTY SHOPS
Here is a way to turn your dish-
washing into beauty care! Experts in
305 famous beauty shops say — "We
actually cant tell the difference between
the hands of a woman who uses Lux
in the dishpan and those of a woman
with maids to do all her work. Lux
is so gentle it gives the hands a real
beauty treatment."
And how little this precious care
costs! Less than i£ a day — for the big
box of Lux does 6 weeks' dishes!
I remember the first time I saw Marlene
Dietrich.
I thought her one of the loveliest women I'd
ever known. That she was unhappy in
America I knew — as Garbo was unhappy when
she first came over. But she talked freely of
her baby, of her life in Germany, of her hus-
band. Von Sternberg was not there.
When he came in the room — as he always
eventually comes into any room where Marlene
is, he bowed politely to me and turned to
Marlene to talk to her in German. She arose
instantly. "I must go," she said. And shortly
she left.
She is two different women. With Von
Sternberg she is what he has made her be,
the woman who wandered through "Morocco"
on a pair of ridiculously high heels, the woman
who rouged her lips before facing a firing squad
in " Dishonored." When she is away from him
she is a gay, happy, laughing child. The mask
is tossed away, the pose is gone. She is the
Marlene Dietrich of Germany and not the
creation of Von Sternberg of some mystic
Graustarkian country.
IN spite of the fact that he says she helps
direct her pictures and that it makes her
furious to be told he dominates her, his spell
has lasted over her since her arrival in this
country. And then came those fatal ten days
and the spell was broken. It was during those
ten days that she laughed and danced with
Maurice Chevalier. And, although they are
back together again, she and Josef, lunching
and talking their serious talk, there is a differ-
ence. Things are not as they were.
As a person, this all affects her tremendously
but it chiefly concerns her career, which is now
at a serious crisis. Not even her most ardent
admirers (of which I am one) can fail to see
that she has ''through Von Sternberg) repeated
her roles in every picture. And already people
are asking, "What would happen if someone
else directed Marlene?"
It is in her contract that Von Sternberg shall
direct her pictures.
"DUT suppose those ten days have paved the
■'-'way for her, suppose she should work for
another man? Undoubtedly the vague, in-
tangible, inarticulate woman would be gone
and in her stead would be a warm, alive, de-
lightful actress — as Marlene herself really is.
N'ow perhaps you wonder where Marlene's
husband, Rudolf Sieber, comes into all this.
He plays a certain role in Marlene's life but not
the starring one. Her baby is her greatest and
most vital interest. Don't forget that Sieber
was an assistant director who could further her
interests on the screen in Germany at the time
she married him.
And she loves him, of course, since he is the
father of her child and that child, little Maria,
is her ruling passion.
Marlene is not a strange figure. She is a
woman of intelligence and charm. She takes a
normal interest in having a good time. Von
Sternberg has made her the thing she appears
to be. But now that she is being gradually
weaned away from the influence — what will
happen to her? Du Maurier's ending for his
novel "Trilby" was not a happy one. But
Trilby did not have the brains Marlene has. ■
"Well, Connie's married again and this Hank seems to be a nice fellow,"
beams Richard Bennett. So, with Connie settled in that little love nest
for two, papa Dick can pitch right in and do a lot more picture roles as
grand as the one he played in "Arrowsmith"
Photoplay Magazine for February, 1932
I05
Marion's Philosophy
[ CONTINUED FROM PAGE 69 ]
She paused; whirled on me suddenly. "Do
you know that I am the only woman on stage
or screen who stutters? I have felt that handi-
cap from the first. When talking pictures
came — ," she shuddered. "But I never
stutter in a picture, do I? You haven't noticed
it, have you?" She waited anxiously for my
denial.
"Well, I did on the stage. My very first
line was 'I'm the Spirit of the Follies.' I
worried myself sick for fear I couldn't do it
but kept building my courage by saying I could
do it.
"I couldn't. They pulled the curtain on
me. They took the line away because I had
stuttered so I couldn't finish the sentence. I
cried for two days. Then, the third morning,
I went to the window and saw that new light
creeping slowly but steadily through the
darkness of the terrible night. And I knew that
if the world got new light every morning, I
could get a new chance when I wouldn't
stutter." Another long interlude of silence.
"T was paid eighteen dollars a week for that
J-first job. I wanted my mother to have an
automobile. More than anything else in the
world I wished her to ride in a car like other
mothers. I saved every penny. I finally
saved $150 and bought her one. Then, when
I had paid for it and couldn't take it back, I
took it home. When it stopped at home, it
stopped forever. It never ran again. It was
too old!
"As for a sense of humor," again she hesi-
tated. "I guess that has something to do
with the days, too. At night you are alone.
How you feel, doesn't matter much, does it?
But when the day comes and you must be
with other people — ■
"What's the use of being downcast and
gloomy and blue when there's light all around
you? You have the light for only such a short
time. And if things happen which hurt, you
can learn to laugh and to joke and to think
of another day which is coming! You can
even forget the night which must come before
the light.
"The days are so short. Yet, life is just as
short! You might as well get all the fun you
can from life just as you get all the sunshine
from the day before night cuts it away from
you.
"This awful depression! It is to the world
what the nights have always been to me. And
if you can help a little, encourage people in
believing it is to pass as the night does, why
shouldn't you? Without the breaking of some
dawns, I could not have endured life. With-
out a little help, others may not be able to
withstand their nights!"
Marion stopped as abruptly as she had
started slowly. Her eyes widened as though
with surprise at herself. "Oh, I hope I
haven't bored you. I never talk like this."
Marie Dressier had told me her philosophy
of life in one sentence, "Don't expect too
much of life." Photoplay had printed it and
Marie had received hundreds upon hundreds
of letters from those who had been helped by it.
Now, I had Marion Davies' "Another Day!"
Perhaps people would believe and get help,
also. And now I know also the answers to
my questions!
Marion Davies is all that she is because
she is not just one more celebrity in the stock-
room of fame. She is one of those rare
humans who has developed a philosophy to
help her through pain and grief as well as
success and good fortune. Furthermore, she
is a woman who works at her philosophy. Most
of us are too lazy to work at what we believe.
Marion Davies is not too lazy to work out her
own philosophy of life.
LET'S TALK TRUTH!
Women out of sorts often need
Sal Hepatica
**- - vksi&umiid&m
M .-At, ft*, M. >*..
<J J # j
The Greeks reverenced the body as a temple. A temple must, above all,
« be clean. So naturally, among the Greek ideals of beauty for the body, «
was the ideal of cleanliness.
Bodies, today as then, must be clean. And
they must be clean internally as well as
externally. For only then comes the full
radiance of natural beauty. Only then the
full joy of health, and powers of mind.
Neglect of this internal care keeps many
women "out of sorts." Not well — yet not
ill — they fail to discover what
their difficulty is.
They need to practice intes-
tinal cleanliness with the sim-
ple aid of a saline, with Sal
Hepatica. Promptly, indeed,
Sal Hepatica flushes poisons
and wastes from the system.
Sal Hepatica never has
the tendency to make its
takers stout.
Sal
Hepatica
To drink salines for health's and beauty's
sake, long has been the habit of lovely
Europeans. To Vichy, Carlsbad, Wies-
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Photoplay Magazine for February, 1932
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What Happened to Harry Langdon
[ CONTINUED FROM FACE 40 )
Those who knew nothing about it added in-
cidents to make it all seem more important.
It was talked about by everyone, the principal
topic in the smart luncheon places and the
athletic club locker rooms.
So Langdon thought he was somebody now,
did he?
Producing his own pictures had gone to his
head.
Wanted to be a big shot, did he?
And the comedian himself was as bewildered
by it all as that vague, pitiful little character
he played upon the screen might have been
when he found himself caught up in a tangled
web of circumstance.
Langdon is a highly sensitized fellow. The
thing completely got him. It took away his
morale, his pep, his enthusiasm. It made him
self-conscious. He had a contract to fulfil. He
must go on making pictures, but now when he
walked on the set he could feel the cold eyes of
his co-workers waiting for his interference,
already sure that he was going to make himself
objectionable.
"CEARFUL lest he prove true the statements
■*- made in the letter, he took anyone's advice.
Trying to overcome and live down his unde-
served reputation, he would listen to any prop
boy's suggestion for a gag and try to use it. He
also heeded the advice of one of the other pro-
ducers who told him he should shoot his stuff
fast, turn out pictures and cash in quick.
Chaplin takes a year and more on one film.
Lloyd does the same thing. Langdon was mak-
ing comedies in six weeks and it was impossible
to catch that rare, ephemeral thing that gets
laughs — a quality less sustained, more difficult
to imprison than tragedy.
He was bewildered. He was miserable. The
critics panned these quickly turned out films
and everyone added, "Since Langdon has gone
high hat his work has suffered."
Well, it got him down — that's all. It simply
robbed him of everything he had to give to the
screen, which was quite a lot. He couldn't be
funny when he knew that they were all
whispering about him, that they all believed
the stories of his conceit.
It ate into him. He didn't want to see peo-
ple, he didn't want to be watched on the set.
He tried being too friendly and managed to be
just a little eccentric instead.
And one letter from an ex-employee of his
had done it.
It would be a grand case D for a psycho-
analyst if it weren't so pitiful.
AND now here's the ironic part. While the
■'■■man who wrote that letter has become suc-
cessful and prosperous and powerful in Holly-
wood, Langdon is trying desperately in New
York to get a job. He is broke. To help him-
self eke out a living, he draws cartoons for the
funny magazines. They're surprisingly good,
too.
He plays around in vaudeville. He and his
second wife are dickering over a separation.
His life is in a mess. In real life he's play-
ing that beaten, knocked about little fellow he
made popular on the screen.
But he says, "Having a jinx follow you is
fun. At any rate there's never a dull moment."
But that is not quite true. There have been
plenty of dull moments for Harry Langdon,
and heartbreaking ones, too.
Not so long ago he signed with Hal Roach
to make two-reelers. He'd never met Roach
before. The first thing said was, "Now, see
here, Langdon, none of that high handed stuff
you pulled at First National."
And that was years after the letter had been
written.
Nobody has ever forgotten it.
He wants to come back — more than any-
thing else in the world.
And he says, "I can make good comedies,
too, if I'm not licked."
T_TE laughs but he's afraid. He knows he's
-*• -^-still a good comedian, but every time any-
body looks at him sideways he remembers the
letter and its tragic results. At the moment,
he's got a swell chance. The talkies need good
shorts and they need good comedians to make
them. Harry Langdon was, and still is, one of
the best — when given the right break, left to
work out his gags and not reminded of his sup-
posed egotism.
For, in reality, he is as unassuming and
democratic a little person as you'll meet.
And that's the story of how one man was
beaten down at the height of a brilliant career,
and licked by a letter!
The Unknown Hollywood I Know
[ CONTINUED FROM PAGE 66 ]
Kerry got together over a couple of tall iced
ones the stories they told and the smart cracks
they made were as grand as they were un-
printable.
Lew and Aileen Pringle co-starred. That
was a mistake.
Those two never hit it off. Maybe it was
because Aileen had some stories to tell, too.
And the velocity of the Pringle conversation
is something that has amazed Hergesheimcr,
Mencken, Van Vechten and RuDert Hughes,
to name a few.
I wish I could put Aileen Pringle on paper —
that fascinating, facetious, delightful com-
panion who lived her cinema life too soon; that
first water sophisticate who livened up every
dinner party and who has the ability to make a
coal miner's shack seem like a queen's drawing-
room. I could devote pages to the Pringle wit.
Perhaps one incident will suffice.
Her home in Santa Monica was the official
hangout of the literati. Once Carl Van Vechten
came to town and Aileen wanted something
just a bit ultra-ultra as entertainment for him.
Her fertile brain at last devised the astonishing
idea of inviting Aimee Semple McPherson to
have dinner with him.
Through a reporter friend of mine who had
covered the McPherson disappearance case,
we got the evangelist, her daughter, her mana-
ger-deacon and his wife to dinner at Van
Vech ten's bungalow in the Ambassador Hotel.
Before the arrival of Aimee, who can give all
the Hollywood actresses cards and spades
when it comes to showmanship, Aileen was as
nervous as an extra girl doing her first bit.
We had arranged the room. The table was
round, the cloth as white and as uninteresting
as virtue and there were ten glasses of water, one
at each place, that looked like nothing so much
as ten glasses of water. Aileen, with shouts of
delight, unearthed a Gideon Bible and dis-
played it conspicuously.
Breathlessly we awaited the McPherson
party, Aileen and I running to the balcony to
take last minute puffs of cigarettes. She ar- I
Photoplay Magazine for February, 1932
107
rived and impressed us all with her remarkable
acting.
Aileen was just that coy with the McPherson
and so decorous that we looked at her in
amazement. Only once during the dinner did
the old Pringle speak from the new Pringle's
lips. Aimee had been telling about the effi-
ciency of the radio. She said that a poor family
needed a mattress and that she had asked for
one over the air. "And would you believe it?"
she added dramatically, "the next day I got
twenty-four mattresses."
Suddenly Aileen piped up, "But what did
you do with the other twenty-three?" A
withering look from Aimee's deacon-manager
and a kick in the shins from me sealed Pringle's
mouth for the rest of the evening. In those
This is one of the devastating cos-
tumes which Jeanette MacDonald
will wear in the Chevalier picture,
"One Hour With You." Isn't that
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Photoplay Magazine for February, 1932
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Permanently Destroys Hair
days you didn't mention mattresses to Aimee
McPherson and Aileen knew it.
Always the center of the stage, Aileen pre-
ferred the society of men to that of the average
woman, yet her women friends she holds very
dear and they always adore her. Long before
the sophisticated shady lady was popular on
the screen, Aileen had the idea. But then a
woman was an inglnue or a vamp and there
were no in-betweens. When they put her in
Elinor Glyn roles, Aileen wailed, "Hut that's
not what I mean."
So they co-starred her with Lew Cody in
farces — still a far cry to the woman she might
have been in pictures.
She and Cody did not get along. He was
too jovial, too much the good fellow, too little
the real sophisticate to suit Aileen. They
bickered on the set but were charming to each
other at parties. At the studio Aileen did
everything she could to annoy Cody (includ-
ing eating onions before going into love scenes
with him).
I used to watch them work, see them cast
fishy eyes at each other when the camera was
still and then walk before the lights and go
into a tender love scene.
I think that the most universally beloved
person on the lot (and I'm not a sentimentalist
who invariably speaks well of the dead) was
Lon Chaney.
HTHE title "mystery man" did not become
•*- him at all. If ever there were an open souled
dear it was Lon. He pulled the mystery gag
as a publicity stunt and didn't pull it very
well, as a matter of fact. Always making a
great fuss about refusing interviews he never,
as long as I was at M-G-M, actually refused
one. We said, for publicity purposes, that he
was hard to see. He wasn't.
I've heard him time and time again giving
interviews like this:
"So you've come to interview me, have you,
dear? Well, I don't like to talk about myself.
No sir, it's better to be mysterious. If you
want to know anything about me ask the prop
boys, ask the electricians — see, I still have my
card in the stage hands union. Did you know
I was born in Colorado Springs and my father
and mother were deaf mutes? You didn't?
Well, I don't like to talk about myself. Ask
the boys who work with me about me. Now,
I'll tell you how I got in pictures. We were
stranded in Santa Ana and I heard they needed
extras in the movies, etc., etc., etc." You get
the idea.
That was Lon's big mystery stuff. As
honest as a railroad man's watch and as open
faced — Lon was completely free from pose, un-
less you'd call the pride he took in his democ-
racy a pose.
It was only the weird characters he played
that made you think him weird.
/^\N'CE he brought some members of his
^'family to see the studio. He was taking
them over the lot and he wanted to go on Jack
Gilbert's set, but was told that Mr. Gilbert was
doing a highly emotional scene and couldn't
be disturbed. Lon was furious. "What
bunk," he said. "Jack should know he's just
an actor like the rest of us. You do your job
and that's that!" But the incident began a
feud between Chaney and Gilbert that did not
end until a few months before Lon's death.
Lon loved to talk to visitors. And whenever
I brought anybody out to look at his set he
always came over, explained the picture, ex-
plained his part, explained his make-up, always
carefully adding, "But I don't like to talk
about myself. If you want to know anything
about me, just ask the prop boys."
And if you did ask, the prop boys gave a
glowing account of him. Generous to a fault,
Lon was always the first to come on the lot at
Christmas time bearing lavish gifts.
He adored his work. No make-up task was
too difficult, no hours too long, if he got an
effect. And yet I've always felt that "Tell It
to the Marines," in which he used no make-up
at all, was his best picture.
There are many girls on the M-G-M lot
who have Lon Chaney to thank for the helpful
hints he gave them. Greta Garbo, Joan Craw-
ford, Renee Adoree, Norma Shearer, Anita
Page — in fact whenever a new contract player
appeared Lon made it a point to look her up
and show her little secrets of make-up and
screen technique.
I truly believe that his death was mourned
more sincerely than the passing of any other
film personage.
Next month, I'm going to tell you
why Eleanor Boardman caused the
publicity department the most trouble
of any of the stars. It's an unusual
reason. And I'll let you in on a secret
about BiUie Haines' first picture break.
And then I've a couple of swell stories
about Joan Crawford and a peach about
Anita Page and her unhappy start with
Harry Thaw.
To the Head of the Class
l CONTINUED FROM PAGE 53
gradually, into married bliss with his Dolo
Costello, his daughter, his stuffed fish, his
yacht.
Now he subsides into a co-starring
partnership with Lionel, at half his former
salary.
AND Miss Ethel — what of her? The great
daughter, queen of our stage, fades into an
unhappy middle age.
Her health has suffered. Her starring tours,
chiefly a matter of the road, are not too suc-
cessful.
Even in New York, where a beautiful theater
is erected in her name, she has to force a run.
Ethel, over the brink of fifty, has not lived
up to the glorious promise of her girlhood.
Nor, as a matter of fact, has the beautiful,
wastrel young John.
What have we left? Just brother Lionel —
that's all!
But what a brother Lionel!
He followed his brilliant, showy performance
in "A Free Soul" with another legal effort in
"Guilty Hands." As a matter of fact, I fear
poor Lionel is slated to play lawyers until
removed from this legal earth.
Companies demand him. As a featured
actor, he cannot be in enough places at once.
And this, mark you, the discarded director —
the eldest and most outworn of the Barrymores
— the last leaf on the tree.
Do you wonder that I laugh?
For he was just brother Lionel — the first-
born and first-to-die of a passing generation.
And at long last — seemingly safely buried
under a director's horn — he emerges with a
series of fine theatrical performances that set
the younger film critics to dithering.
But I don't wonder.
I MERELY remember a day twenty years
back — when I went into the old Dreamland
and saw " The New York Hat." And I saw an
actor, then thirty-one, who knew his business.
I do not claim to be gifted with second sight.
But it pleases me to think, now, that with
beautiful Brother John and famous Sister Ethel
on the downward trail, just brother Lionel is
doing so well!
Photoplay Magazine for February, 1932
The Man That Gloria
Married
[ CONTINUED FROM PAGE 29 ]
Sainte-Saubeur as Diane; a Tricornc "entree"
with the Comte and Comtesse Elle de Gaige-
ron, Comtesse Gerard de Moustier, and Comte
Palffy; the beautiful Russian, once a refugee in
London who married Sir Robert Abdy, who
was taken up socially by Lady Cunard and
has since divorced her husband and has been
taken up by continental society.
The list of names at the grand fetes would
fill a very large volume. They are all clever
and artistic and resourceful and spend much
time arranging affairs that are spectacular and
artistic triumphs.
At such parties one always finds Michael
Farmer.
I HAVE read so many mis-statements of Mr.
Farmer's occupation, his birthplace and his
wealth that perhaps it is timely to say a little
about these things. Michael Farmer was born
in Dublin, Ireland, about twenty-nine years
ago, of poor parents.
While quite young he came to London and
eventually became the protege of Mr. Wade
Chance, a well-known American who died a
few years ago.
A friend of Mr. Chance, an American lady,
Mrs. Edmund Hubbard, rather elderly and
perhaps best described as a woman somewhat
resembling Mrs. Sheppard (the former Miss
Helen Gould), took a great interest in young
Mr. Farmer. This interest grew as she knew
him better and she wished to adopt him as her
son, but he would not consent to it. Many
people could not understand his refusal to be
adopted by Mrs. Hubbard but he always told
his friends that he wished to be free to make
his life and his friends independently and he
could not do so if he consented to be a son, as
he would feel obliged to consult others.
Through Mrs. Hubbard's advice Michael
Farmer became associated with a partner, a
Mr. Hogan — an American — in the insurance
business, and the firm was known as Hogan
and Farmer. They wrote all kinds of insurance
and acted as motor agents as well, arranging
for cars to meet ships on cabled requests from
America, provided with reliable chauffeurs,
etc., and also acting as "man of affairs" as it is
Here's a trick combination! Con-
stance Cummings' belt matches her
string of beads. And the belt also
cleverly allies itself with her dress
by having the fastening of the ma-
terial. That's a pert bonnet, too, with
its feather sticking jauntily up at
the back
„ CLOTHE Atf
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Photoplay Magazine for February, 1932
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called in France. That is, the agent who in-
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now owned by Mr. Farmer and is known as
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During her lifetime, Mrs. Hubbard gave a
great deal of her time to charities and also en-
tertained her contemporaries. She was a
charming and gracious woman and her later
life was devoted to interest in Mr. Farmer's
welfare. Upon her death she left her great
fortune to him — a fortune estimated -at eight
or nine millions of dollars.
She had very definite ideas for Mr. Farmer's
future. She was, latterly, interested in almost
nothing else except that which concerned him.
Frequently she has called me from her apart-
ment at the Ritz several times in one evening
and afterward has arrived at my home, getting
me out of bed, to discuss something concern-
ing Michael.
AT one time he was devoted to an American
school girl studying in Paris, Miss Mimi
Brokaw of Xew York, the present Mrs. Rich-
ard D. Tucker. Miss Brokaw was, at that
time, the most beautiful girl in Paris. Finish-
ing her education she left for London where
she was presented at court, later returning to
New York to make her debut and subse-
quently marrying Mr. Tucker.
Mrs. Hubbard frowned at this friendship of
Mr. Farmer's as she decried the source of the
fortune as "having been made in clothes; they
were tailors, my dear." Then there was an-
other girl who worried her dreadfully, Mrs.
Stanley Mortimer, widely reported by the
press on both sides of the Atlantic as the future
wife of Michael Farmer.
Stanley Mortimer, the brother of the famous
"Tuki," the former wife of Count Zoppola and
Mrs. Mortimer were being divorced. Mrs.
Mortimer was earning her living as a manne-
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Michael, in his kindly affectionate way felt
sorry for her, took her to parties and tried to
see that she had a good time. That's all there
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Marilyn Miller, the famous actress, fre-
quent visitor to France, captured Michael's
roving eye with her winsome smile and her
sunny, sweet disposition, her charming un-
spoiled little-girl manner. She had just been
divorced from Jack Pickford and was, of
course, very' much in the news. This worried
Mrs. Hubbard almost to distraction, but
nothing came of it.
As to Michael, whenever discussing mar-
riage, he always entered into the conversation
enthusiastically. He lives in Paris, in a beau-
tiful apartment which he bought and furnished
in the most exquisite taste with rare and
lovely antiques. It is in an historic street, one
that figures in the scenes in the Du Maurier
play "Peter Ibbetson." In his dreams of a
future looming large on the canvas he painted
a scene with a lovely large house out of Paris,
with a splendid garden. The girl he married
must be young, talented, beautiful, jolly, gay
and sweet. They must have a large family of
lovely children. I have heard Michael make
this statement at least a hundred times.
Will Gloria Swanson care sufficiently for this
new world opened to her by marriage with
Mr. Farmer, to shine as a continental society
woman, the wife of one of the most popular
men on the continent? Surely Michael Farmer
can find nothing to interest him in Hollywood.
His friends, his life, his ties are all in Europe.
If Gloria will not give up her screen career —
and she still has a contract and plans new pic-
tures— what will this marriage mean, if they
are to be separated by thousands of miles?
V\ 7ILL she be interested to compete with the
** sophisticated women of the world of
wealth, society and leisure she has been imper-
sonating for years on the screen, and how will
she succeed? What is her equipment?
The answer is all contained right in the inner
comers of her own heart. She must learn to
play, to let herself be happy, to rest on her
laurels and to make her future gloriously happy
and successful as a companion and playmate
as well as a wife.
How'd you like to wake up some morning and find a gadget like this camera
crane swinging over your bed? But at the studio it's all in a day's work —
just Director E. H. Griffith (gentleman with bedside manner^ moving in for
a close-up of Connie Bennett in "Lady With a Past." And a past is all
this lady would have if the darn thing slipped
Photoplay Magazine for February, 1932
I I I
The New Gretna Green
[ CONTINUED FROM PAGE 59 )
means is a merry ha-ha. Yuma got wise, too.
Two new signs were posted in the lobby of
the brilliant white courthouse. One sign glows
in golden letters to the right as you enter the
lobby.
You can't miss it. It reads:
Marriage
Licenses
It points up a flight of stairs.
Directly opposite it is an equally brilliant
gold-lettered sign. It reads:
Justice
of the
Peace
It points down a flight of stairs.
And if that isn't service, what is?
Upstairs is a young chap by the name of
Donald Wisener.
A year or so ago, he thought he d never see
a movie star in person.
But he's issued marriage licenses tcso many
of them by now that he's getting bored with it
a"-
"I used to get a kick out of it, he says.
"Well, I guess I still do."
DOWNSTAIRS is Justice of the Peace Earl
A. Freeman, a white-haired, freckle-faced
jovial fellow of fifty-two yearsand a happy heart,
who used to hit the high spots along the border
in the old days when high spots were high.
He's seen lots of life before he settled down,
and he's seeing lots of it again with this parade
of movie stars that he marries.
Last year, he passed the bar exams and
became an attorney.
But he still ranks in national fame as Yuma's
star-marrier.
He and Don Wisener think Gloria Swanson
was their most imperious bride. Dorothy
Mackaill was their sweetest. June MacCloy
their peppiest. Richard Dix took his wedding
big. Marjorie Rambeau was the most gracious.
Mary Astor was their most worried — because
she begged them to keep her marriage a secret
and was afraid they wouldn't.
But they did. Until Photoplay revealed
it to the world.
Judge Freeman was busy tying the knot for
a coal-black pair just as Photoplay's inter-
viewer entered his courtroom. No — not Stepin
Fetchit. Just a couple of cotton-ranch hands
from near Yuma. The judge finished the job
in a workmanlike fashion, didn't kiss the
bride (he didn't kiss any of Hollywood's either)
and pocketed the fee, which wasn't as big as
he got from the cinema-landers.
He says he's deeply appreciative of the
break he's getting — meeting the stars he
marries.
"I've heard a lot of things about 'em," he
says. "One does. I was of the opinion that
many of them would be stuck up, or self-im-
portant. But when I got to know them, I
found not one of them who wasn't charming,
gracious, pleasant, — just fine people."
He thought Richard Dix was a great fellow.
DIX and Winnie Coe, his bride, arrived from
Hollywood by airplane, with a wedding
party that included relatives and friends. They
arrived unheralded, and motored to the San
Carlos Hotel, and sent for the court clerk and
the judge.
News travels fast in a town the size of Yuma
— it's barely over a village. Indians and their
squaws wander about the streets, rubbing
shoulders with modern young maids so snap-
pily dressed that you know they watch the
fashions on the screen.
So by the time Dix and the party got to the
courthouse, five blocks away, there was an
audience.
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— a quart daily. We become so used
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don'tnotice "B.O." in ourselves . But
others do — instantly!
Why take chances?
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I I 2
Photoplay Magazine for February, 1932
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Now, an audience to Richard Dix is like a
red flag to a bull. Wave the flag at the bull
and the bull goes into an act. Show Dix an
audience —
They used the double ring ceremony. Dix,
chin and chest sticking characteristically out,
spoke his replies in the best traditional man-
ner. When Judge Freeman told them they
were man and wife, Richard bent low and
kissed the hand of his bride in as sweeping a
gesture as any stage manager could have asked.
People swarmed in with congratulations.
Dix beamed and ' shook hands all around.
Someone wanted to well-wish the bride.
"Come here, Mrs. Dix," ordered Richard,
across the room. Mrs. Dix came at hubby's
voice.
"And how does it feel to be married at
last?" asked a reporter, of the man whose
Hollywood-famous bachelorhood had gone
phooey at last.
"I feel different — already," said Dix.
"Much better."
THEY started down the courthouse steps.
Dix beheld a camera pointed at him. He
glowered. He put his hat before his face,
shielded his bride with his manly figure. "No
pictures, please," he basso-profundoed.
"But Mister Dix . . ."
"No. No pictures!"
The cameraman was aghast. "Are movie
people camera shy?" he asked, in bewilder-
ment.
Dix and his bride and the wedding party
hurried to the San Carlos hotel, where a
wedding banquet was produced out of pack-
ages that had flown from Hollywood with
them. Reporters stood outside, denied ad-
mittance, and listened to laughter, clinking
and the popping of corks out of bottles. And
watched bottles labelled "Champagne" being
carried out — empty.
•"THEY went to the airport. And there Dix
■*■ again hid his bride behind himself and him-
self behind his hat. And all the pictures that
were had was a snapshot of the back of Richard
Dix, helping the back of Mrs. Richard Dix
into their airplane, homeward bound.
"But he was a fine fellow," says Judge Free-
man. Judge Freeman didn't say how much
Dix paid him. Dix's father was in the party.
Papa told Judge Freeman that it was a great
experience to stand by and see his son married.
Incidentally, Dix signed the papers with his
rial name — Ernest Carlton Brimmer. But he
called his bride "Mrs. Dix."
Dorothy Mackaill and Neil Miller flew to
Yuma, too. It was one of those spur-of-the-
moment elopements. But newspaper people
were at the airport when they arrived.
"Why, I didn't know anyone knew anything
about it," said Dot, appalled by the reception
as she stepped from the plane. She wore a
sports outfit — tan flannel skirt, tan pumps,
tan felt hat, and a pale blue rose-trimmed
sweater. Her skin, Honolulu tanned by the
same sun that had tanned her lover, was
darker than the tan of her attire. But her hair
was brighter than Yuma's sun — and that is
bright!
SUBSCRIBE FOR PHOTOPLAY
L'se Convenient Subscription Blank on Page 114
You are looking very sporting indeed, Norma Shearer! Seymour tells us
that the two-tone yellow knitted sweater you are wearing is quite the thirg.
He likes the short sleeves, vest-like style and that scarf with the suede
trimming. The hand-sewn chamois gloves are a nice touch, too
Photoplay Magazine for February, 1932
They hurried right to the courthouse, not
even waiting to let a boy take a snapshot,
although he asked. Up the stairs for a license;
down the stairs to the cellar to Judge Free-
man's courtroom. There Judge Freeman did
his stuff.
As he spoke, great tears welled in Dot's
eyes! How her friends in Hollywood would
have been amazed — Dot Mackaill crying at
her wedding! Neil put his arm around her.
Judge Freeman droned on. The tears rolled
down her cheeks. ". . . man and wife," came
Judge Freeman's words. Dot made a little
choking sound, buried her head in Neil's
shoulder.
His arms were tight around her. He was
kissing her, whispering things into her ear —
so low that no one could hear.
IN a moment, Dot was herself again. She
lifted her head, smiled at Neil, turned and
smiled at the little group of watchers. Outside,
they posed for pictures. Then they sped a few
miles along the concrete road, turned left,
bumped over two and a half miles of horrible
dirt road, came to a fence with a gate in it and
some guards on each side — and crossed the in-
ternational border.
They went to a place called "The Oasis."
They ordered dinner and everything that went
with a wedding dinner in a non-prohibition
domain. They popped corks just as loudly as
Dix had, in Yuma.
"Dorothy Mackaill is a great gal," grins
Eddie Lang, a round-faced little fellow who
owns the Oasis Cafe. "She sure had one swell
time here that afternoon. She didn't want to
go home.
" 'Oh,' she said when they told her it was
time to catch the plane, 'we don't have to fly
back tonight. Le's stay here. We can take
the train tonight — or tomorrow — le's stay
here.' "
But a friend who was in the wedding party
told her that Neil had a job, and had to be
back in Hollywood to sing at the Embassy
Club or lose that job. And since Dot doesn't
want him to lose his income so he'd have to
live on hers and become just "Mister Mac-
kaill," she bade a regretful farewell to Old
Mexico, sped back to Yuma and to the airport.
There was the boy with the camera to whom
she'd said no. She recognized him. "Will you
forgive me? " she said to him, and gave him a
dollar. He did.
. The newlyweds enplaned, the motors roared
— and Neil (Just-Married) Miller went back to
his job.
Gloria Swanson didn't fly to Yuma with her
Michael. She motored. It was the Monday
after her final decree from the Marquis had
been entered in Los Angeles. The Saturday
before, by law, she had two hubbies. On Sun-
day, by law, none. On Monday, she took
Michael Farmer as her hubby.
f** LORIA was gorgeously dressed — tan sports
^^suit, brown felt hat, tan-and-brown pumps,
a luxuriously befurred brown coat. Her head
was high; her eyes didn't seem to see anything
as her car rolled to the courthouse and she
entered.
Farmer told Clerk Wisener that he was a
broker, and lived in Paris. Gloria told him
that she was a year younger than what she
told the license clerk for that reported August
wedding in New York State. But little details
like age — what do they matter to a movie star?
Judge Freeman performed the ceremony.
Gloria didn't smile, didn't frown. She didn't
even weep a tear or two, as some erroneous
news stories had it. She was cool as ice, her
face like a statue — serious, unchanging, im-
perious. Farmer was far more nervous than
she.
Upstairs in the same courthouse, right over
their heads, one Eddie "Hot Doughnuts"
Carmon was pleading guilty of second degree
burglary. Over at the railroad station, many
more Yuma people were being thrilled over the
shipment of the first carload of peas of the fall
than were by Gloria's wedding, which seemed
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Photoplay Magazine for February, 1932
What Do You Want To
Know About The Pictures?
Is it a good picture?
Is it the kind of picture I would like?
Which one shall we see tonight?
Shall we take the children?
PHOTOPLAY will solve these problems for
you — save your picture time and money.
PHOTOPLAY MAGAZINE
is truly the outstanding publication in
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Photoplay gives you:
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Striking editorials that cut, with-
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Authorized interviews with your
favorite actors and actresses who
speak frankly because Photoplay
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Articles about every phase of the
screen by outstanding authori-
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PHOTOPLAY MAGAZINE
919 No. Michigan Ave., CHICAGO
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Photoplay's
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Photoplay is as up-to-
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PHOTOPLAY
SUPERB FICTION
by the Foremost Writers
to thrill her no more than drinking a glass of
water, for all the emotion she showed. She
responded as called for, and seemed glad when
the affair was over.
She looked over the heads of newspaper
people who approached her afterward, and
brushed past them. So did Michael. News-
paperwoman Katherine Long, a pretty little
thing dressed every stitch as modishly as
Gloria, and no less determined, popped right
after her.
Miss Long, not to be outdone by Gloria,
looked just as self-possessed, just as imperious
as the star when she planted herself in front of
the newryweds on Yuma's main street and said:
"Now, you needn't go on like this. You
might just as well stop and say something to
me, because a story is going out over the wires
anyway!"
GLORIA turned to Michael. Michael turned
to Gloria. " Shall we? " he asked. "Xo,"
said Gloria. "Well, why not? ''he asked. Gloria
was silent a moment. "Well, we might as
well," she finally consented, and looked away
while Michael drew a paper from his pocket
and handed it to the girl reporter. It was a
typed statement which read:
"I was given legal advice in New York,
following my return from Europe in August,
that a marriage in New York State would not
conflict with the laws of California relating to
interlocutory decrees and would be perfectly
valid. After the New York marriage, I was
advised over long distance telephone from Los
Angeles by my attorney, Lloyd Wright, that
the marriage was not valid in California. For
this reason, Mr. Farmer and I did not admit
the previous marriage and have been awaiting
the expiration of the year of the interlocutory
decree to be remarried."
That was all.
"Have you nothing to add?" asked Re-
porter Long.
Gloria condescended.
"I received my final divorce decree yester-
day, and we came here and were married and
we're terribly happy."
It was all "I" by Gloria, you'll notice —
written statement and spoken. Farmer said
nothing. They went into a telegraph office,
ignored all other approaches from then on,
sent a few wires, got back into their car, and
sped off.
Marjorie Rambeau was as gracious as
Gloria was otherwise. She married Rich-man
Francis A. Gudger of Sebring, Florida, in
Yuma the very day after Gloria's wedding.
Marjorie told Reporter Long all about her
romance with Gudger — how she'd been en-
gaged to him fourteen years ago, in New York
— how life "took a peculiar turn" and parted
them — "and after all these years, we've found
happiness."
"Have you something to say?" the reporter
asked the new hubby. He gazed at his bride
and said, "All my romance lies in you."
AND on the next day — three in a row — June
MacCloy married Band-Manager Schuyler
Schenck in an airplane elopement to Yuma.
When they reached Yuma, Clerk Wisener was
whooping it up at a rodeo, and they couldn't
get a license. So they shopped for a wedding
ring. June picked a platinum band.
By that time, Wisener had arrived, given
them a license. Judge Freeman married them.
But did they hurry back to Hollywood? They
did not — they stayed in Yuma overnight.
And now, there's that Yuma hotel that has
become famous all over the world for its sign:
Free Meals Every Day the Sum
Doesn't Shine Here
You see, the sun shines an average of 364
days out of each year. But the hotel man is
planning to change his sign.
He says he's going to put up a new one.
It'll read:
Free Meals and Lodging
Every Week
Some Movte Star Does Not Marry Here
February
Birthdays
February 1 — Helen Chandler
February 2 — Frank Albertson
February 3 — Andy (James J. Correll)
February 5 — Monta Bell
February 6 — Lucile Webster Gleason, Rus-
sell Gleason, Ben Lyon, Ramon Novarro
February 7 — -Edward Nugent
February 8 — King Vidor
February 9 — Ronald Colman
February 12 — William Collier, Jr.
February 14 — Frances Dade, Stuart Erwin
February 15 — John Barrymore, William Jan-
ney
February 16— D. W. Griffith, Chester Morris
February 17 — Mary Brian
February 18 — Adolphe Menjou
February 22 — Lew Cody
February 24— Bert Lytell
February 25 — Warren Hymer
February 27 — Ian Keith, Joan Bennett
Photoplay Magazine for February, 1932
"5
My goodness, we hope your boudoir
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Not exactly the garb for the orange
juice and coffee hour — but elegant
for your more grande dame moments !
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Photoplay Magazine for February, 1932
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What Hollywood Did to a New England
Schoolmarm
| CONTINUED FROM PACE 55 ]
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3
men to launder an absentee's linen and to strip
the victim of his or her reputation. It was
smart to be familiar or to assume familiarity
with private lives. Thelma was appalled at
the cheapness with which Hollywood treated
its own.
Thelma shrank from this drawing-room
destruction. She chose her course, and the
course was that advocated by railroad crossing
signs in an effort to decrease mortality: Stop,
Look, Listen. Thelma added another word:
Silence. She would not gossip, neither would
she mingle too freely. She would make few
friends and she would not countenance large
social gatherings. To this day, she abides by
this rule. ZaSu Pitts is practically her only
girl friend, and her men friends are seldom
known to any but a few intimates until Thelma
is ready to be seen with them.
V\ 7HICH explains why Hollywood tabs the
W Todd girl "a clever one." Thelma was
rumored to have been quite fond of a man who
directed her in a recent picture. Hollywood
never knew for sure, but the community
gossiped. Today, Thelma is hardened against
gossip.
She has acquired the strength to ignore con-
versational cruelty. Strength, however, is
never achieved without a balancing sacrifice.
Thelma sacrificed kindliness for that portion of
the human race that tormented her. She safe-
guards real emotion with a crystal hardness
allied with a sardonic wit.
Her first and hence her most shattering dis-
illusionment came one night shortly after her
arrival in Hollywood. The studio for which
she was working called her and requested her
immediate presence. She assumed the request
meant re-takes for the picture in which she was
working and which was being rushed to com-
pletion. She went to the studio, but instead of
being permitted to go on the set she was
ushered into an office, and there she recognized
familiar executive faces. There were girls, too,
young and yielding; drinks, cigarettes, a
victrola. The amazing gathering were making
merry, to say the least.
Not being merry, Thelma turned on her heel.
They stopped her and cajoled her to stay, to
have a drink, to be a good fellow. Thelma
refused. One word flared to another and
stormed into melodramatic violence. But
Thelma went home, shaken, by the experience.
A HOLLYWOOD executive, balked in his
pursuit of relaxation, has destroyed many
a screen hopeful. Hundreds of girls believe that
by being "nice" to executives they will be re-
warded with contracts. The)7 have learned to
their grief how little faith can be placed in
nocturnal promises. Many who have disdained
the you-be-nice-to-me and I'll-be-nice-to-you
promises, have learned to their sorrow how
swift can be the revenge of the repulsed titan.
Hollywood hath no fury like a director
scorned.
The sharpest blow dealt the independent girl
is through the dread medium of the blacklist.
Once a girl is blacklisted, she cannot get a job
at the larger studios. The blacklist is denied
by the producers and so secret are their meet-
ings and so closely do they stand together that
no victim has ever been able to assemble suih-
cient evidence to convict any Hollywood
dictator. Yet, Hollywood knows what it
knows and the blacklist ranks high in its fears.
Thelma Todd became a freelance player.
She received calls from many studios, but with
monotonous regularity, she always just missed
getting the role for which she was up. Dog-
gedly, she clung to hope and she didn't whine.
If she suspected she was being taught the hard
facts of life by those who help make the facts
harder, she kept her suspicions and her counsel
to herself.
She saw her bank account dwindle as day by
day she drew money out and had none to put
in. What would happen when she was
"broke"? It isn't pleasant to be one against
the many — and broke. Again she refused to
cross a bridge until she had to.
For all of Hollywood, Thelma rode the wave
of success. She lunched at the "smart" restau-
rants. She danced at the Cocoanut Grove, the
Blossom Room, the Mayfair. She was seen
with Harvey Priestley, insurance broker; with
Ivan Lebedeff, monocled beau of pulchritude;
with Al Hall, film editor. Thelma put on a
courageous "front."
It paid. The little Hal Roach studio sent for
her and cast her in a two-reel comedy. Holly-
wood seeks those who are in demand. Another
company sent for her. Miraculously, she was
among the steady workers. Her name had ap-
parently been as mysteriously erased from the
blacklist as it had apparently been placed upon
it, for those who had given her the run-around
no longer did so.
"""THE Todd girl goes along minding her own
*■ business, working, playing with whom she
pleases, and scoffing at rumors and gossip con-
cerning her. She was said to be engaged
recently to Abe Lyman, the band leader. She
laughed. She still laughed when acquaintances
pointed accusingly to the new diamond soli-
taire on the fourth finger of her left hand.
What? Engaged to be married — in Holly-
wood! She laughed and that was all the satis-
faction to be teased from her, the clever girl.
But Thelma isn't really hard. Real people
arouse kindness and generosity in her. Last
summer, with her mother, Thelma motored
down to Malibu to see Raquel Torres. Raquel
wasn't home. As Thelma was getting into her
Ford coupe, she saw a shirt-sleeved boy walk-
ing up the alley. She waited for him, thinking
he might be Raquel's house boy. He wasn't.
"Miss Todd," he said, "I've tried to get
work for weeks. I'm starving. I haven't eaten
for two days. Do you need a chauffeur? I "11
scrub floors, do anything."
She was sorry. She had no need for such a
person. Tears welled in his eyes. She observed
the boy's hollow cheeks, his haggard face.
"Here," she reached impulsively into her
bag and jerked out a bill. "You get some
food." He shook ;his head. "I couldn't take
money, thanks."
Thelma hesitated, then got into the car. In
the spot mirror she watched the boy. He
walked uncertainly a few steps and leaned
against the fence, his head buried in the crook
of his arm, his body shaking convulsively.
Thelma walked over to him, and thrust the
bill into his hand. "This is a loan," she said.
'•"YOU can pay me back when you get a job."
■•- Shepatted his shoulder and returned to the
car. As she drove off, she saw the boy again in
the spot mirror. He was looking after her, the
bill clutched in his hand.
A clever girl? Perhaps. The ex-school
teacher from the small New England town can
be expert at dissembling. The few who have
won her friendship and who have penetrated
her laughing, cynical veneer appreciate her
fineness and sincerity. Even as she dreamed
escape from a school desk, so she today dreams
escape from Hollywood and its petty treach-
eries. She'll find her escape. It may be mar-
riage. It may be the stage. It may be — but
who can prophesy for that clever Todd girl?
Photoplay Magazine for February, 1932
Why Constance Is Unpopular
in Hollywood
[ CONTINUED FROM PAGE 35
ran toward her; tumbled; fell. Connie helped
the child up. Then she dashed through the
crowd, paying them as little attention as possi-
ble. "High-hatting" them.
The publicity which resulted said Connie
knocked down the child in her effort to avoid
those who had come to pay her a courtesy,
"while passing through in her private car."
OF course, Connie might have been more
gracious. No question about that. But she
wasn't in a private car and she is, honestly,
afraid of crowds. No question about that.
Shy, too. Always self-conscious about meeting
people. She once said, "I must be spoken to
first. I cannot get courage to speak to those I
do not know well!" Anything Connie does is
honest. Honest to the point of being rude.
She told me, "I don't like the stage. I couldn't
stand it. I couldn't bear the people looking at
me. That's why I prefer pictures."
Directors usually like her. Intelligent ones.
She helps them make good pictures. The pro-
ductions are as much hers directorially as
theirs. She will not do what seems silly or in-
consequential even for a picture.
When Paul Stein was doing " Born to Love,"
he issued a call for Connie for nine o'clock in
the morning. Connie was on time. She is
rarely late. She sat until four in the afternoon
without working. She told him:
"I am not going to come any more unless
you are certain you are ready for me. I'm not
going to sit around on a set from nine until
; four. It is absolutely unnecessary and it isn't
fair. You might as well resign yourself for I
simply will not do it. When you need me,
really need me, I will be here." She left. She
was never called again unless she was needed.
Her friends are limited. She will not mix
with people simply because they are "other
celebrities." In spite of the fact that she is one
of the wealthiest women in the city, she does
not entertain except at little, intimate parties.
When Joel McCrea was friends with Con-
stance,, he told me: "I have never known a
woman as pretty who was as intelligent." To-
day, he speaks in the same way of her.
She is also the most argumentative. I went
down to her to talk about this story. Told her
frankly what I was going to do. She admires
frankness above all other qualities. She refused
to be quoted. Said she would put up no
defense! It was beneath her dignity.
But she talked— not for quotation. How she
talked. To be perfectly frank, I couldn't get a
word in edgewise. She told her side of all these
stories I have printed and many more that
there is not room to print.
A ND again and again she said, "I lost my
*Memper. I couldn't be blamed for what I
said in a fit of temper, could I?"
It's never entered Constance Bennett's head
to control her temper. It's never entered her
head to play politics as Hollywood plays them.
If she's square and honest and does what she's
supposed to do to help make good pictures —
that's enough. She's earned her money and
her fame and her right to the inheritance which
her father, Dick Bennett, handed down to her.
When the three Bennett girls were fifteen,
father Dick told them to live life as they de-
sired. "Go out and get what you want!" he
warned them. "You're only in life a short
time; make the most of it." We understand he
also instilled the idea that a man who isn't
worth chasing isn't worth having.
Well, they've lived up to those instructions.
There's something else, too. Constance
Bennett was born with a platinum spoon in her
nouth. She has never known want. She's
lever had to hunt a job today so she could eat
tomorrow. She was educated in the best
private schools in this country and Europe.
Her broad A is as natural to her as Gloria
Swanson's Middle Western twang was once to
her.
The rest of Hollywood isn't like that. It has
fought and suffered and struggled. It has
starved yesterday and eaten caviar today.
Connie has had only the caviar. Hollywood
resents that. It feels that it belongs to those
who have climbed rather than to those who
have inherited.
Connie thinks she is tolerant. She says she
is. There she is wrong. She doesn't know the
meaning of the word tolerance. How could
she? People have to suffer to comprehend
what others may suffer; they have to starve to
understand hunger. It isn't her fault, but
tolerance is as foreign to her nature as intoler-
ance is to Marion Da vies! Marion is generous
because she knows from experience what it is
to be without money. Connie has no con-
ception.
RONNIE is truthful but her penchant for
^-*argument,herhigh order of intelligence which
makes her feel the right to be victor, makes her
shape things to her own convenience. Her
friends will admit that, if you press them on
the matter. For example: A writer told her
she would not quote her. She didn't. She
merely used the information which Connie had
given — in the writer's own language. A
writer's prerogative, surely. But Connie swore
the writer had promised not to use the in-
formation. Connie twisted the situation to
suit her convenience when she didn't like the
results of what she, herself, had said.
Connie's father gave some facts about her
youthful days to another writer. Connie was
furious; lost her temper. She and her father
barely spoke. When the fight got into print,
Connie was again much disappointed. Connie
had told it herself. When reminded of the fact,
she assailed the people who heard her for not
having intelligence enough to refrain from re-
peating it.
She may have blamed herself for talking of
it in the first place — but I doubt it.
There are few to whom she will listen. Only
to those who have stood their ground and
insisted with sane arguments which her intelli-
gence has been forced to accept — after they
have mustered the courage and perseverance to
say them! When convinced, she is sincerely
fair. "I was wrong; I am sorry." But only
those with courage know that. Most of Holly-
wood is too intuitively resentful to try the
experiment.
I revert to this matter of truthfulness. An
example from her youth. Her father, Dick
Bennett, is a splendid poet. When Connie was
a debutante attracting beaus as a honeysuckle
does bees, she liked to appear perfect in all
things. Father would write the poetry; Connie
would memorize it and recite it as though she
had written it.
She never said she wrote it.
She wouldn't lie. But she left the impression
which pleased her.
A CLEVER woman. Too clever for Holly-
wood! Too beautiful; too rich; too attrac-
tive to men ; toohighly paid ; too gold-bespooned ;
too outspoken; too intolerant of stupidity (of
which there is much in any city !) ; too indifferent
to what is said about her; too dominant; too
sincerely afraid of other people; too much
talked about. Hollywood could not be ex-
pected to like her.
You could. I do. Plain, every-day people
like exaggerations. And Connie is an ex-
aggeration !
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Photoplay Magazine for February, 1932
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Hollywood Fashion
Merry-Go-Round
by Seymour
FASHION news of the month! Jean Harlow
wears a cotton nightie in her newest
picture. Marlene Dietrich appears (not in
a picture) at a restaurant in a man's black suit.
And Ina Claire launches a new fad by wearing
one white and one black pearl earring.
You evidently have to have a lot of clothes to
be "A Lady With a Past." Connie Bennett
(La Marquise de la Falaise de la Coudray, just
in case you have forgotten the title) brought
forty gowns to the set as a fashion starter for
her new picture by that name. Among those
that were chosen to be used was a white velvet
trimmed with sable. Brown moire slippers
accompanied this. Another evening choice
was a blue-purple chiffon with a train.
There have been a number of trains in
evidence for evening this past season, but for
Spring you will find that the hemline is defi-
nitely off the floor.
The return of the two-piece dress is going to
call forth whoops of delight from those who
have had difficulty in pulling their waists in to
the right girth. Look for a higher cut in skirts,
and bodices that accent the bust line.
If you can imagine a more eye-filling sight
than Kay Francis in black satin, I can't. She
wore it at the Embassy.
When a quiet holiday or week-end is needed,
the film colony migrates one by one to La
Quinta. This quiet and exclusive spot is about
twenty miles from fashionable Palm Springs.
Marie Dressier spends all of her time there rest-
ing between pictures.
Joan Bennett was a recent visitor. Her
favorite daytime outfit consisted of a white
mesh sports dress and a white camel's hair
coat. Life is very simple as lived at La Quinta
so sports clothes are a big item. All white or
with a color touch is the most popular, as it is
at other Winter resorts.
I hope you didn't miss the interesting fashion
details of Joan Crawford's clothes in "Pos-
sessed." There was the large white flower
worn on a black velvet dress and duplicated on
a black velvet bag which she carried. Several
of the more formal dresses had a slim, molded
line through the hips with an exaggerated flare
from knee to floor.
Speaking of Joan reminds me she has a
clothes hobby — it's hats. When she finds a
style that is becoming, she has it made up in
any number of colors. At the moment, a felt
hat with a medium brim that dips over the
right eye seems to be the favorite.
Lupe Velez isn't going to run any risk of
chills in this veree cold countree so she keeps a
mere fourteen fur wraps on hand.
A wicket inside story on Hollywood ! Just a group of nice girls enjoying a
quiet game of croquet. The smiling wicketeer is Ona Munson (soon to be
Mrs. Lubitsch) looking very trim in a red woolen frock accented in white.
And from left to right: Mary Brian in a smart two-tone woolen with tilted
beret, Marguerite Churchill, Marian Nixon and Helen Chandler
Photoplay Magazine for February, 1932
And Loretta Young boasts of twenty-five
pairs of pajamas in some closet at home.
I know it is old stuff to come cheerily forth
about this time of the year with the announce-
ment that prints are going to be good for
Spring. There's hardly a Spring that they
aren't, but there seems to be more of a stir than
usual being made about them. Printed silks
teamed up with woolens is a new idea that
seems interesting. Watch for this.
Everyone is asking "What next in hats?"
Well, you can make your first straw bonnet a
sailor. Sailors will be seen in all sorts of tilts
and twists. Crowns remain low although there
is quite a to-do about high trimmings toward
the back. The eyes still have it!
LIL Dagover has gone back to Germany but
not before stating flatly that she won't wear
a fashion just because it is smart. No, it seems
that it must be becoming first. That might be
a good hint for a lot of people who wear the
fashion flash of the moment regardless of how
incongruous it may be.
When Stevenson wrote "Dr. Jekyll and Mr.
Hyde" in 1885, bustles were the big fashion
furor of the hour. And now, even though
Miriam Hopkins wears modern clothes in the
picture version of this famous story, all of her
fifteen costumes have some adaptation of the
bustle idea! By the way, did you notice that
elegant tea gown Tallulah Bankhead wore in
"The Cheat"? That was real and rare old lace
used for the collar and sleeves. The dress itself
was a wine red georgette.
Mr. Warner, we have a complaint to
make against your photographer for
mixing up those swell stems with a
lot of old tripods. Photoplay,
being a nice family magazine, doesn't
go in for legs as a rule, but we couldn't
resist this picture of Greta Granstedt,
who seems to be another formidable
contender for the Dietrich leg honors
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Short Subjects
of the Month
You've never seen anything goofier than Laurel and Hardy,
as members of the French Foreign Legion, in "Beau
Hunks," one of their best comedies. It's better than most
features. Reviewed below
BEA U HUNKS
Hal Roach-M-G-M
Those splendid fools — Laurel and Hardy —
turn in one of their funniest comedies to date.
This is a burlesque of every Foreign Legion film
you've ever seen and any director should be
ashamed to make another serious one. It's
rare stuff. Don't miss it.
FOILED
William J. Barns-Educational
Gambling, jealousy, and a murder as after-
math form the background for this new detec-
tive thriller which is solved before your eyes.
You'll enjoy guessing who did it.
PHANTOMS OF HOLLYWOOD
Ralph P. King Prod.
This film turns the pages back about four-
teen years on the history of the film industry.
Along with old shots from Vitagraph, Realart
and Metro pictures there is illuminating dia-
logue about the stars who were popular then.
Thoroughly enjoyable.
HALF IIOLIDA Y
Educational-Scnnctl
Should a man stay henpecked? Andy Clyde
timidly strikes for a half holiday from wifely
surveillance but finishes up completely
shackled again. A good comedy.
BIG DAME HUNTING
Radio Pictures
Plenty of laughs in this one. Ned Sparks
mistakes a matrimonial for an employment
agency and the scrambled mess requires plenty
of explanation.
ALL AMERICAN KICKBACK
Educational-Scnnett
Harry Gribbon performs the neatest football
trick of the year. When the villain, Lincoln
Stedman, tries to fumble the ball, Harry saves
the day by kicking Lincoln and the ball for a
goal. Very funny.
THE EYES HAVE IT
W arncr-V itaphonc
Edgar Bergen, the ventriloquist, and his
dummy have some amazing experiences in an
optician's office. Good, snappy dialogue
makes this amusing.
ALADDIN'S LAMP
Educational-Paul Terry-Toon
A very modern and rollicking version of the
Arabian Xights story animates this tuneful
short. The Genii provides some marvelous
transportation facilities for Aladdin!
EX-ROOSTER
Radio Pictures
Comedian Chic Sale and director Mark
Sandrich are a swell combination. Chic's
sister orders him to kill his favorite rooster for
dinner. He serves instead the prize fowl, pre-
pared for the fair. One side-splitting gag after
another.
THE VELDT
Educational-Lyman H. Howe
A scourge of deadly locusts and a volcanic
eruption are two of the thrilling events in this
interesting trip through the African veldt
There are close-ups of some strange animals
that are better than a trip to the zoo!
MOONLIGHT AND CACTUS
Educational-Ideal
Tom Patricola nimbly "hoofs" his way
through this pleasing farce of fair senoritas and
jealous caballeros. Louise Lorraine and Renee
Borden are the brunette interests.
Photoplay Magazine for February, 1932
Addresses of the Stars
121
Hollywood, Calif.
Paramount Publix Studios
Adrienne Ames
Richard Arlen
George Bancroft
Eleanor Boardman
William Boyd
John Breeden
Chas. D. Brown
Juliette Compton
Jackie Coogan
Robert Coogan
Gary Cooper
Frances Dee
Marie ne Dietrich
Claire Dodd
Tom Douglas
Junior Durkin
Stuart Erwin
Marjorie Gateson
Wynne Gibson
Phillips Holmes
Lenita Lane
Carole Lombard
Paul Lukas
Jeanette MacDonald
Frances Moffett
Rosita Moreno
Jack Oakie
Vivienne Osborne
Eugene Pallette
Ramon Pereda
Irving Pichel
Jackie Searl
Peggy Shannon
Sylvia Sidney
Lilyan Tashman
Kent Taylor
Regis Toomey
Dorothy Tree
Allen Vincent
Judith Wood
Fox Studios, 1401 N. Western Ave.
Frank Albertson
John Arledge
Warner Baxter
Joan Bennett
El Brendel
Joan Castle
Paul Cavanagh
Virginia Cherrill
William Collier, Sr.
Roxanne Curtis
Jesse DeVorska
Donald Dillaway
Allan Dinehart
James Dunn
Sally Eilers
Charles Farrell
Janet Gaynor
Minna Gombell
William Holden
Olin Howland
Warren Hymer
J. M. Kerrigan
James Kirkwood
Elissa Landi
Edmund Lowe
Helen Mack
Kenneth MacKenna
Mae Marsh
Victor McLaglen
Thomas Meighan
Una Merkel
Don Jose Mojica
Conchita Montenegro
Goodee Montgomery
Ralph Morgan
Greta Nissen
George O'Brien
Sally O'Neil
Lawrence O'SulIivan
Maureen O'SulIivan
Cecelia Parker
William Pawley
Yvonne Pelletier
Gaylord Pendleton
Howard Phillips
Terrance Ray
Manya Roberti
Will Rogers
Peggy Ross
Rosalie Roy
George E. Stone
James Todd
Spencer Tracy
Linda Watkins
Marjorie White
Charles Williams
Elda Vokel
Radio Pictures Studios, 780 Gower St.
Mary Astor
Roscoe Ates
Evelyn Brent
Joseph Cawthorn
Lita Chevret
Ricardo Cortez
Lily Damita
John Darrow
Dolores Del Rio
Richard Dix
Irene Dunne
Jill Esmond
Noel Francis
Roberta Gale
Morgan Galloway
John Halliday
Hugh Herbert
Ley land Hodgson
Rochelle Hudson
Kitty Kelly
Geoffrey Ken-
Rita LaRoy
Dorothy Lee
Eric Linden
Phillips "Seth Parker'
Lord
Joel McCrea
Ken Murray
Edna May Oliver
Lawrence Olivier
William Post
Lowell Sherman
Ned Sparks
Ruth Weston
Bert Wheeler
Hope Williams
Robert Woolsey
RKO-Pathe Studios, 780 Gower St.
Robert Armstrong
Constance Bennett
Bill Boyd
James Gleason
Ann Harding
June MacCloy
Pola Negri
Eddie Quillan
Marion Shilling
Helen Twelvetrees
United Artists Studios, 1041 N. Formosa
Ave.
Eddie Cantor
Charles Chaplin
Ina Claire
Ronald Colman
Douglas Fairbanks
Jean Harlow
Al Jolson
Evelyn Laye
Chester Morris
Mary Pickford
Gloria Swanson
Norma Talmadge
Columbia Studios, 1438 Gower St.
Eddie Buzzell
Richard Cromwell
Sn-an Fleming
Ralph Graves
Jack Holt
Buck Jones
Loretta Sayers
Barbara Stanwyck
John Wayne
Culver City, Calif.
Metro-Goldwyn-Mayer Studios
Nils Asther
William Bakewell
John Barrymore
Lionel Barrymore
Wallace Beery
Charles Bickford
Herbert Braggiotti
John Mack Brown
Jackie Cooper
Joan Crawford
Kathryn Crawford
Marion Da vies
Reginald Denny
Marie Dressier
Jimmy Durante
Cliff Edwards
Madge Evans
Wallace Ford
Clark Gable
Greta Garbo
John Gilbert
Charlotte Greenwood
Nora Gregor
William Haines
Helen Hayes
Hedda Hopper
Leila Hyams
Dorothy Jordan
Buster Keaton
Myrna Loy
Joan Marsh
John Miljan
Ray Milland
Robert Montgomery
Polly Moran
Karen Morley
Conrad Nagel
Ramon Novarro
Ivor Novello
Monroe Owsley
Anita Page
Ruth Selwyn
Norma Shearer
Gus Shy
Lewis Stone
Lawrence Tibbett
Ernest Torrence
Hal Roach Studios
Charley Chase
Mickey Daniels
Dorothy Granger
Oliver Hardy
Mary Kornman
Harry Langdon
Stan Laurel
Gertie Messinger
Our Gang
David Sliarpe
Grady Sutton
Thelma Todd
Universal City, Calif.
Universal Studios
Lew Ayres
Tala Birrell
John Boles
Lucile Browne
Bette Davis
Sidney Fox
Rose Hobart
Boris Karloff
Bela Lugosi
Slim Summerville
Sally Sweet
Genevieve Tobin
Lois Wilson
Burbank, Calif.
Warners-First National Studios
George Arliss
Richard Barthelmess
Joan Blondell
Lilian Bond
Joe E. Brown
Anthony Bushell
Charles Butterworth
James Cagney
Ruth Chattertfon
Donald Cook
Lil Dagover
Bebe Daniels
Douglas Fairbanks,
Jr.
Kay Francis
Ruth Hall
Ralf Harolde
Walter Huston
Leon Janney
Evalyn Knapp
Winnie Lightner
Ben Lyon
Mae Madison
David Manners
Marian Marsh
Marilyn Miller
Dorothy Peterson
William Powell
James Rennie
Edward G. Robinson
Loretta Young
Polly Walters
Warren William
Long Island City, New York
Paramount New York Studio
Tallulah Bankhead
George Barbier
Clive Brook
Nancy Carroll
Maurice Chevalier
Claudette Colbert
Tamara Geva
Miriam Hopkins
Fredric March
Marx Brothers
Frank Morgan
Gene Raymond
Charlie Ruggles
Charles Starrett
Hollywood, Calif.
Robert Agnew, 6357 La Mirada Ave.
Virginia Brown Faire, 1212 Gower St.
Lane Chandler, 507 Equitable BIdg.
Lloyd Hughes, 616 Taft Bldg.
Harold Lloyd, 6640 Santa Monica Blvd.
Philippe De Lacy, 904 Guaranty Bldg.
Los Angeles, Calif.
Pat O'Malley, 1832 Taft Ave.
Herbert Rawlinson, 1735 Highland St.
Ruth Roland, 3828 Wilshire Blvd.
Estelle Taylor, 5254 Los Feliz Blvd.
William S. Hart, Horseshoe Ranch, Newhall, Calif.
Patsy Ruth Miller, 808 Crescent Drive. Beverly
Hills, Calif.
George K. Arthur and Karl Dane, Beverly Hills, Calif.
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Photoplay Magazine for February, 1932
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Screen Memories From Photoplay
15 Years Ago
Norma
Talmadge
M THTTERLY we wept in
J*^H •'-'print over the breaking
fla^ ^ ■» up of that line old stock
^ JBk company assembled by
iJLr D. W. Griffith. Having
reached his greatest tri-
umph in "The Birth of a
Nation," Griffith was left
among the ruins of his
"Intolerance" sets. Henry
Walthall had been the
first to leave — then Wally Reid struck out to
conquer new cinema worlds, and Mae Marsh
packed up to head her own company.
Walthall had done his best work in "The
Birth of a Nation" and it took Mae Marsh
just fifteen years to make a comeback in the
new version of "Over the Hill." While Grif-
fith, now, is waiting, a trifle sadly — bright
hopes of youth gone, for movie audiences' re-
ception of his new picture "The Struggle."
Miss Mary Gray Peck of the Motion Picture
Committee of the General Federation of
Women's Clubs, found that the movies were
going to "save our civilization from the
destruction which has successively over-
whelmed every civilization of the past. As
long as a ticket stays around the price of a
drink, the saloon has to reckon with the first
rival that has ever been able to compete with
it and beat it."
Norma Talmadge was the girl on the cover
and two pages of pictures of her were spread
inside the magazine. Garbed in black velvet
and ermine, glamour — then just a word in the
dictionary — simply radiated from Norma. She
had just been married to Joseph Schenck, and
didn't want the world to know. But Pho-
toplay upped and told.
Anita King, Allan Forrest, Helen Jerome
Eddy, Gladys Hulette, Harry Hilliard, John
Bowers, Bessie Barriscale and Louise Fazenda
appeared in the gallery.
Pictures reviewed included: "The Garden
of Allah," "Broken Chains," "The Children
Pay," "The Cossack Whip," and "Less Than
the Dust."
Cal York item: Marjorie Rambeau has just
been won over from stage to pictures (now
married for the third time and retired).
10 Years Ago
W!
Gloria
Swanson
ELL, well, well, what
do you think of this?
Above the caption, " Films
That Talk and Sing,"
ran a picture of a group of
opera stars before a
strange looking contrap-
tion. And we said that an
Englishman named Grin-
dell-Matthews had per-
fected a machine which
made the voices of the actors synchronize with
their filmed actions. Our comment: "Won-
der how it will seem to hear our stars? Some of
them will surprise you, as their voices are in
perfect accord with their screen personalities. "
Now, here is a paragraph which we hereby
dedicate to Michael Farmer, Gloria Swan-
son's new husband. Listen, Mike old boy,
when Gloria starts getting too rambunctious,
recall the fact that ten years ago in Photoplay
in a story called "The Confessions of a Modern
Woman," Gloria made this statement: "No
woman is ever happy with a man unless that
man is her master. He may be her slave, her
adorer, her devoted servant — but at the same
time he must be her master." And again she
says: "Woman's highest ambition today is to
be a trade-mark of a successful husband. "
Do you remember Miss Dupont, the girl
without a first name? We ran a nice little in-
terview with this Von Stroheim discovery.
She is now living quietly on Long Island.
The six best pictures were Hope Hampton
in "Star Dust," Sam Hardy in "Get-Rich-
Quick Wallingford" (we gave that another
"best six" a few months ago when it was re-
made with Billy Haines), Dick Barthelmess in
"Tol'able David," Marion Da vies in "En-
chantment," Lon Chaney in "The Ace of
Hearts" and Mabel Normand in "Molly-O."
Lila Lee graced our cover and the gallery
pictures included Estelle Taylor, Glenn Hun-
ter, Alma Rubens, Teddy Sampson, Raymond
Hitchcock, Will Rogers and Jacqueline Logan.
Cal York items: The rumor persists that
Claire Windsor and Charlie Chaplin are en-
gaged. . . . Pola Negri is coming to America.
. . . William S. Hart and Winifred Westover
are married.
5 Years Ago
Lya
de Putti
TACK GILBERT said
J that the romance be-
tween him and Garbo is
over but that he still
thinks her the most won-
derful woman in the world.
Frankly he admits that it
was she who turned him
down and that "no one
understands Greta Garbo
except Mauritz Stiller.
I was never Stiller's real rival with her." And
we cheered Jack for this charmingly gallant
attitude toward the lady he had loved and
lost. Jack has always been gallant. When
he and Ina Claire were divorced, not one
single harsh word about her passed his lips.
and since he and Lupe Yelez have loved and
now — so rumor says — love no more, he makes
no comment.
We reported another blighted romance —
that of Clara Bow and Victor Fleming and we
added, with a catch in our throat, "We'll
never announce Clara's engagement again.
She changes her mind too often." We didn't
carry out the threat. The last five years
Photoplay has kept you informed about the
last minute state of Clara's heart. That's all
over for a while. She's married to Rex Bell.
We ran a nice little yarn about Lya de Putti
who was, at the time, one of the screens most
delightful sirens. With only eight months' ex-
perience with the English language, she gave
our interviewer an earful of delightful non-
sense. But Lya's career was marked for storm
and turmoil. Last November it ended in
death. Poor Lya! We called our story "More
Sinned Against Than Sinning."
On the cover was Louise Brooks and the
stars in the gallery were Lillian Gish, Claire
Windsor, Greta Nissen, Phyllis Haver, Colleen
Moore and John Roche.
We chose as the best picture "What Price
Glory?" "Old Ironsides," "Flesh and the ■
Devil," "The Night of Love," "Love 'Em and
Leave 'Em" and "Twinkletoes."
Cal York items: Grant Withers (who later
married Loretta Young, and was soon divorced
by her) has announced his engagement to Al- |
berta Vaughn. h
Photoplay Magazine for February, 1932
I23
Ho! Ho! Red Head!
HAS the bright and dizzy platinum head
had its day ? That is one of the all ab-
sorbing questions of the moment. And
those who reached for a bleach a few short
months back are now trying to find ways to
go back to "natural" gracefully.
Since we started things not long ago by
telling our fair public to stop, look and think
before plunging heads willy-nilly into a plat-
inum bleach, there has been a decided turning
of heads back to the good old brunette tints
that used to adorn grandma's head. A lot of
brunettes are heard snickering in the wings,
too, we might add!
Platinum colored hair was and still is a fad.
The reasons for its being a fad have already
been enumerated under time, trouble and ex-
pense. Hollywood is credited with the whole
idea in the first place, ever since some of the
most limelighted stars took to the bleach in a
big way.
JEAN Harlow probably is the most famous
platinum blonde but she did not have to go
far to get that way — her hair was almost a
silver white naturally.
Discontented brunettes pointed to Bebe
Daniels and forthwith dipped their heads in a
platinum rinse. Bebe certainly did go from
the deepest brunette to the lightest blonde
but no one bothered to inquire why. But
now that she has returned to her natural dark
hair, some of her hasty followers ruefully re-
member that she did it because she screened
better!
Then there was Joan Crawford. Did Joan
want to be a blonde? No, she didn't — she
merely did it because a picture role demanded
it.
Now she is happily back to her own red-
dish brown color. And so it goes.
Since the screen has become a criterion in
fashion and hair colorings, you will have to
look there to find out just what the next
popular shade of hair will be. How about red?
"D ED HEADED WOMAN" is the latest
■tv picture from Hollywood to start a new
hair coloring wave. And already the smart
hairdressing and dyeing firms are making a
play for the charming red head. They contend
that gentlemen may prefer blondes but that
they never have passed by a good looking red
head!
Reddish glints in the hair are a simple
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betweens. And they do not cause as drastic
methods of achievement as did the platinum-
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Photoplay Magazine for February, 1932
COUCH RELIEF
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Photoplay Magazine
Dept. RE-2-32
919 N. Michigan Avenue, Chicago, III.
Casts of Current Photoplays
Complete for every picture reviewed in this issue
"ALMOST MARRIED"— Fox.— From the novel
by Andrew Soutar. Adapted by Wallace Smith. Di-
rected by William Cameron Menzies. The cast:
Anita, Violet Heming; Deene Maxwell, Ralph Bell-
amy; Caprisli, Alexander Kirkland; Inspector Slanle,
Allan Dinehart; Lady Layering, Eva Dennison; Aunt
Mathilda, Grace Hampton; Lord Lavering, Herbert
Bunaton; Marielte. Maria Alba; Butler, Herbert
Mundin; Cook, Mary Gordon.
"ANYBODY'S BLONDE"— Action Pictures.—
From the story by Betty Burridge. Directed by
Frank Strayer. The cast: Janet, Dorothy Revier;
Dan O'llara, Reed Howes; Steve Crane, Lloyd Whit-
lock; Myrtle, Edna Murphy; Ginger, Nita Martan;
Slew, Gene Morgan; Editor, Henry Walthall; O'llcra's
Manager, Arthur Housman; Riley, Richard Cramer.
"BEAST OF THE CITY. THE"— M-G-M.—
From the story by W. R. Burnett. Directed by
Charles Brabin. The cast: Jim Filzpatrick, Walter
Huston; Daisy, Jean Harlow; Ed. Filzpatrick, Wallace
Ford; 5am Belmonte, Jean Hersholt; Mary Filz-
patrick, Dorothy Peterson; Michaels, Tully Marshall;
District Attorney, John Miljan; Chief of Police, Em-
mett Corrigan; Tom, Warner Richmond; Mac, Sandy
Roth; Cholo, J. Carroll Naish.
"BEN HUR"— M-G-M.— From the novel by
General Lew Wallace. Adapted by June Mathis.
Continuity by Carey Wilson and Bess Meredyth.
The cast: Ben Hur, Ramon Novarro; Messal, Francis
X. Bushman; Esther, May McAvoy; Mary, Betty
Bronson; Princess of Hur, Claire McDowell; Tiizah,
Kathleen Key: Iras, Carmel Myers; Simorides, Nigel
De Brulier; Shiik Ilderim, Mitchell Lewis; Sanballal,
Leo White; Arrius, Frank Currier; Balthasar, Charles
Belcher; Amrah, Dale Fuller; Joseph, Winter Hall.
"BIG SHOT, THE"— RKO-Pathe.— From the
story by George Dromgold and Hal Conklin. Adapted
by Joseph Fields and Earl Baldwin. Directed by
Ralph Murphy. The cast: Ray, Eddie Quillan; Doris,
Maureen O'Sullivan; Fay Turner, Mary Nolan;
Barber, Roscoe Ates; Mrs. Thompson, Belle Bennett;
Old Timer, Arthur Stone; Mr. Howell, Louis John
Bartels; Dr. Peasley, Otis Harlan; Jack Spencer, Billy
Eugene; Uncle Ira, Edward McWade; Mr. Hartman,
Harvey Clark; Mr. Polls, A. S. Byron; Town Mar-
shall, Charles Thurston; Garage Boy, Hilliard Carr;
Postmaster, Frank Darien.
"BRANDED MEN "— Tiffany Prod.— From
the story by Earle Snell. Directed by Phil Rosen-
The cast: Rod, Ken Maynard; Dale Winters, June
Clyde; Ramrod, Irving Bacon; Half-a-rod, Billy
Bletcher; Mace, Charles King; The brother, Donald
Keith.
"COCK OF THE AIR"— United Artists.— From
the story by Robert E. Sherwood and Charles
Lederer. Directed by Tom Buckingham. The cast:
Lieutenant Roger Craig, Chester Morris; Lilli de
Rosseau, Billie Dove; Terry (Craig's orderly), Matt
Moore; Captain Tonnino, Louis Alberni; 1st Italian
girl, Katya Sergeiva; 2nd Ilaliar girl, Yola D'Avril;
Irate Woman, Vivien Oakland; French Ambassador,
Emile Chautard; Lilli' S companion, Ethel Suther-
land; Lilli's maid, Peggy Watts.
"DECEIVER, THE" — Columbia.— From the
story " It Might Have Happened" by Bella Muni and
Abem Finkel. Adapted by Charles Logue. Directed
by Louis King. The cast: Tony, Lloyd Hughes; Ina,
Dorothy Sebastian; Thorpe, Ian Keith; Mrs. Lawlon.
Natalie Moorhead; Mr. Lawton, Richard Tucker;
Speedy, George Byron; Celia, Greta Granstedt;
Breckenridge, Murray Kinnell; Dunn, DeWitt Jen-
nings; Payne, Allan Garcia; Nat Phillips, Harvey
Clark; Barney, Sidney Bracy; Thomas. Frank Halli-
day; Dr. Schulz, Colin Campbell; Stage Manager,
Nick Copeland.
"DELICIOUS"— Fox.— From the story by Guy
Bolton. Adapted by Guy Bolton and Sonya Levien.
Directed by David Butler. The cast: Heather Gordon,
Janet Gaynor; Larry Beaumont, Charles Farrcll;
Jansen. El Brendel; Sasha, Raul Roulien; O'Flynn.
Lawrence O'Sullivan; Qlga, Manya Roberti; Diana,
Virginia Cher rill; Mrs. Van Bergh. Olive Tell; Mischa,
Mischa Auer; Tosha, Marvine Maazel; Momotschka,
Jeanettc Gegna.
"DEVIL ON DECK "— Tiirill-O-Drama.— From
the story by Bernard McConville. Directed by
Wallace W. Fox. The cast: John Moore. Reed Howes;
Kay Wheeler, Molly O'Day; Shanghai Morgan,
Wheeler Oakman; Mary Moore, June Marlowe;
Limey. Kenneth Treseder; Frenchie. Rolfe Sedan;
Pop Wheeler, A. S. Byron; Swede, Constantine Ro-
manoff.
"DR. JEKYLL AND MR. HYDE"— Para-
mount.— From the story by Robert Louis Stevenson.
Adapted by Samuel Hoffenstein and Percy Heath.
Directed by Rouben Mamoulian. The cast: Dr.
Jekyll and Mr. Hyde. Fredric March; Ivy Parson,
Miriam Hopkins; Muriel Carew, Rose Hobart; Dr.
Lanyan, Holmes Herbert; Gen. Carew, Halliwell
Hobbes; Poole, Edgar Norton; Vtterson, Arnold Lucy;
Hobson, Col. MacDonnell; Mrs. Hawkins, Tempe
Pigott.
"EMMA " — M-G-M. — From the story by Frances
Marion. Adapted by Leonard Praskins. Directed
by Clarence Brown. The cast: Emma, Marie Dressier;
Ronnie, Richard Cromwell; Mr. Smith, Jean Her-
sholt; Isabelle, Myrna Loy; District Attorney, John
Miljan; Haskins. Purnell B. Pratt; Matilda, Leila
Bennett; Gypsy, Barbara Kent; Sue, Kathryn Craw-
ford; Bill, George Meeker; Maid, Dale Fuller; Drake,
Wilfred Noy; Count Pierre, Andre Cheron.
"EXPLORERS OF THE WORLD "— Raspin
Prod. — Directed by Harold Noice. Featuring —
Harold McCracken and his Siberian-Arctic Expedi
tion; Gene Lamb and his Photo-Scientific Expedition
to Tibet; James L. Clark and his African Expedition;
Lt. Com. J. R. Stenhouse and his Imperial Trans-
Antarctic Expedition; Laurence M. Gould. Second in
command of Byrd Antarctic Expedition and Harold
Noice and his Tariano Indian Expedition to North-
western Brazil.
"FORBIDDEN "—Columbia.— From the story
by Frank Capra. Adapted by Jo Swerling. Directed
by Frank Capra. The cast: Lulu. Barbara Stanwyck;
Bob, Adolphe Menjou; Holland, Ralph Bellamy;
Helen, Dorothy Peterson; Roberta (.baby), Myrna
Fresholtz; Roberta (IS), Charlotte V. Henry; Briggs,
Halliwell Hobbes; Mrs. Smith, Florence Wix; Mr.
Jones, Claude King; Mr. Eckner, Robert T. Graves;
Three Kibitzers, Frankie Raymond, Gertrude Pedlar
and Wilfred Noy.
"GIRL OF THE RIO"— Radio Pictures.—
From the play by Willard Mack. Adapted by Eliza-
beth Meehan. Directed by Herbert Brenon. The
cast: Dolores, Dolores Del Rio; Don Jose Maria Lopez
Tostado, Leo Carrillo; Johnny Powell, Norman Foster;
O'Grady, Ralph Ince; The Matron. Lucile Gleason;
Madge. Edna Murphy; Mike. Stanley Fields; Bill,
Frank Campeau; Nabelle. Roberta Gale.
"GREEKS HAD A WORD FOR THEM, THE"
— United Artists. — From the story by Zoe Akins.
Adapted by Sidney Howard. Directed by Lowell
Sherman. Jean, Ina Claire; Polaire, Joan Blondell;
Schalze, Madge Evans; Boris Feldman, Lowell Sher-
man; Dey Emery, David Manners; Mr. Emery,
Phillips Smalley; Mr. Garrett, Sidney Bracy.
"HUSBAND'S HOLIDAY ' — Paramount —
From the story "The Marriage Bed" by Ernest
Pascal. Adapted by Ernest Pascal and Viola Brothers
Shore. Directed by Robert Milton. The cast : George
Boyd, Clive Brook; Clyde Saunders, Charlie Ruggles;
Mary Boyd, Yivienne Osborne; Andrrx Trask, Harry
Bannister; Christine Kennedy, Juliette Compton;
Cecily Reid, Dorothy Tree; Mr. Reid, Charles Win-
ninger; Mrs. Reid, Elizabeth Patterson; Molly
Saunders, Leni Stengel; Phillip, Dickie Moore; Anne,
Marilyn Knowlden.
"IS THERE JUSTICE?"— Thrill-O-Drama.—
From the story by Betty Burbridge. Directed by
Stuart Paton. The cast: Jerry, Rex Lease; Kay Ray-
mond, Blanche Mehaffey; District Attorney Raymond,
Henry B. Walthall; Dan Laurence, Robert Ellis; June
Lawrence. Helen Foster; Shorty Gray, Ernest Adams;
Chief of Police, Joseph Girard; Detective Regan,
Richard Cramer; Doctor Gibbs, John Ince; Rollins,
Walter Brennen.
"JUVENILE COURT"— Ziedman Prod.— From
the story by Howard Higgin. Adapted by Paul
Gangelin. Directed by Howard Higgin. The cast:
Jimmy Mason, Junior Durkin; Mr. Kelly, Pat
O'Brien; Shorty, Junior Coghlan; Peggy, Bette Davis;
Uncle Henry, Charles Grapewin; Aunt Emma, Emma
Dunn; Superintendent Thompson, James Marcus;
Mr. Gebhardt. Morgan Wallace: Judge. Wallis Clarkj
Captain of Guards. Hooper Atchley.
Photoplay Magazine for February, 1932
"LADIES OF THE BIG HOUSE "—Paramount.
— From the story by Ernest Booth. Adapted by
Louis Weitzenkorn. Directed by Marion Gering.
The cast: Kathleen Storm, Sylvia Sidney; Standish
McNeil, Gene Raymond; Susie Thompson, Wynne
Gibson; Martin Doremus, George Barbier; Kid
Athens, Earle Foxe; Warden Hecker, Frank Sheridan;
John Hartman, Purnell Pratt; Reno Maggie, Fritzi
Ridgeway; Ivory, Louise Beavers; Millie, Hilda
Vaughn.
"LADIES OF THE JURY"— Radio Pictures.
— From the play by John Frederick Ballard. Adapted
by Marion Dix. Directed by Lowell Sherman. The
cast: Members of the Jury, Mrs. Livingston Baldwin
Crane, Edna May Oliver; Wayne Dazy, Ken Murray;
Andrew MacKaig, Roscoe Ates; Mayme Mixter, Kitty-
Kelly; Cynthia Tate, Lita Chevret; Alonzo Beat,
George Andre Beranger; Steve Bromm, Guinn
Williams; Tony Theodolphulus, George Humbert;
Mrs. McGuire, Kate Price; Jay J. Pressley, Charles
Dow Clark; Mrs. Dace, Florence Lake; Miss Lily
Trait. Cora Witherspoon. Others in the cast: Mrs.
Gordon, the defendant, Jill Esmond; Rutherford Dale,
defense lawyer. Morgan Galloway; Halsey Van Stye,
prosecutor, Alan Roscoe; The Judge. Robert McWade;
Gvelyn Snow. Helene Millard; Suzanne, Suzanne
Fleming; Jury Room Officer. Tom Francis; Chauncey
Gordon, Leyland Hodgson.
"LAW OF THE TONGS"— Willis Kent Prod.
— From the story by Oliver Drake. Directed by Lew
Collins. The cast: Joan, Phyllis Barrington; Charlie
Wont, Jason Robards; Denny, Johnny Harron;
Madame Duval, Dorothy Farley; Mrs. McGregor,
Mary Carr; Yuen Lee, Frank Lackteen.
"MANHATTAN' PARADE "—Warners.— From
the play by Samuel Shipman. Adapted by Robert
Lord and Houston Branch. Directed by Lloyd
Bacon. The cast: Doris. Winnie Lightner; Herbert,
Charles Butterworth; John, Walter Miller, Lou Del-
man, Joe Smith; Jake Delman, Charles Dale; Char-
lotte. Greta Granstedt; Paisley, Bobby Watson;
Junior. Dickie Moore; Yassiloff, Luis Alberni; The
Sheriff. Charles Middleton; Nancy, Claire McDowell;
Telephone Girl. Polly Walters; The toreador. Douglas
Gerard; Two Srwing Girls, Lilian Bond and Ruth Hall;
Lady Godiva's Husband, Nat Pendleton; The Suit of
Armor, Bill Irving; First Page Boy, Harold Wald-
ridge; Brighton, Frank Conroy; Napoleon, William
Humphries; The Lawyer, Edward Van Sloan; Mrs.
Beacon, Ethel Griffies.
"MAKER OF MEN" — Columbia.— From the
story by Howard J. Green and Edward Sedgwick.
Adapted by Howard J. Green. Directed by Edward
Sedgwick. The cast: Dudley. Jack Holt; Bob, Richard
Cromwell; Dorothy, Joan Marsh; Chick, Robert
Alden; Dusty, John Wayne; McNeill, Walter Catlett;
Mrs. Rliodes, Natalie Moorhead; Mr. Rhodes, Richard
Tucker; Aunt Martha, Ethel Wales.
"MATA HARI"— M-G-M.— From the story by
Benjamin Glazer and Leo Birinski. Directed by
George Fitzmaurice. The cast: Mala Hari, Greta
Garbo; Lt. Alexis Rosanoff, Ramon Novarro; General
Shubin, Lionel Barrymore; Andriani, Lewis Stone;
Dubois, C. Henry Gordon; Carlolla, Karen Morley;
Caron, Alec B. Francis; Sister Angelica, Blanche
Frederici; Warden. Edmund Breese; Sister Genevieve,
Helen Jerome Eddy; The Cookspy, Frank Reicher.
"MEN OF CHANCE"— Radio Pictures.—
From the story by Louis Weitzenkorn. Adapted by
Wallace Smith & Louis Stevens. Directed by George
Archainbaud. The cast: Marthe. Mary Astor; Johnny
Silk, Ricardo Cortez; Dorval. John Halliday; Farley,
Ralph Ince: Gertie, Kitty Kelly; Prov. Frenchman,
George Davis; Clocker, James Donlin; French Detec-
tive. Andre Cheron; Magistrate, Albert Petit; Hotel
Manager, Jean DeBriac.
"POCATELLO KID, THE"— Tiffany Prod.—
From the story by Scott Darling. Directed by Phil
Rosen. The cast: Pocatello Kid, Ken Maynard; Jim
Bledsoe, Ken Maynard; Mary, Marceline Day;
Larkin, Richard Kramer; Trinidad, Charles King;
Blaze. Lew Meehan; Marston, Jack Rockwell; Sheriff,
Bert Lindley.
"PRIVATE LIVES"— M-G-M.— From the play
by Xoel Coward. Scenario by Hans Kraly and
Richard Schayer. Directed by Sidney Franklin.
The cast: Amanda, Norma Shearer; Elyol. Robert
Montgomery; Victor, Reginald Denny; Sibyl, Una
Merkel; Oscar, Jean Hersholt; Bell Hop, George
Davis.
"RAINBOW TRAIL. THE"— Fox.— From the
story by Zane Grey. Adapted by Barry Conners and
Philip Klein. Directed by David Howard. The cast:
■ Shefford, George O'Brien; Fay Larkin, Cecilia Parker!
Ruth, Minna Gombell; Ike Wilkins, Roscoe Ates;
Venters, James Kirkwood; Paddy Harrigan. J. M.
Kerrigan; Dyer. W. L. Thome; Lone Eagle. Robert
Frazer; Abigail, Ruth Donnelly; Willels, Nilcs
Welch; Singing Cloud, Laska Winters; Presbey,
Landers Stevens; Jane Wilhersteen, Alice Ward; Jim
Lassiler, Edward Hearn.
"SECRET WITNESS, THE '—Columbia —
From the novel "Murder in the Gilded Cage" by
Samuel Spewack. Directed by Thornton Freeland.
The cast: Lois Martin, Una Merkel; Arthur Jones,
William Collier, Jr.; Bella, ZaSu Pitts; Captain
McGowan, Purnell Pratt; Larson, Clyde Cook; Lewis
Leroy, Ralf Harolde? Tess, June Clyde; Brannigan,
Paul Hurst; Jeff, Clarence Muse; Gunner, Nat Pen-
dleton; Herbert Folsom, Hooper Atchley; Moll, Greta
Granstedt; Mike, Mike Donlin.
"SOOKY" — Paramount. — From the story "Dear
Sooky" by Percy Crosby. Adapted by Joseph L.
Mankiewicz and Norman McLeod. Directed by
Norman Taurog. The cast: Skippy Skinner, Jackie
Cooper; Sooky Wayne, Robert Coogan; Sidney
Saunders, Jackie Searl; Mrs. Skinner, Enid Bennett;
Mrs. Wayne, Helen Jerome Eddy; Mr. Skinner,
Willard Robertson; Saunders, Leigh Allen; Willough-
by, Harry Beresford; Moggs, Guy Oliver; Krausmeyer,
Oscar Apfel; Hilda, Gertrude Sutton.
"STRUGGLE, THE"— United Artists.— From
the story by John Emerson and Anita Loos. Directed
by D. W. Griffith. The cast: Jimmie Wilson, Hal
Skelly; Florrie, his wife, Zita Johann; Nina, cabaret
girl, Charlotte Wynters; Nan Wilson, Jimmie's sister,
Evelyn Baldwin; Johnnie Marshall, her beau, Jackson
Halliday; Mary, Jimmie's daughter, Edna Hagan;
Sam, his friend, Claude Cooper; Cohen, insurance
collector, Arthur Lipson; .1 Catty Girl, Helen Mack;
Mr. Craig. Johnnie's employer. Charles Richman; Al,
a gigolo, Scott Moore; Tony, a mill worker, Dave
Manley.
"UNDER EIGHTEEN "—Warners.— From the
story by Frank Dazey and Agnes C. Johnston.
Adapted by Charles Kenyon and Maude Fulton.
Directed by Archie Mayo. The east: Madge Evans,
Marian Marsh; Jimmie, Regis Toomey; Howard
Raymond. Warren William; The father, J. Farrell
MacDonald; The mother, Emma Dunn; Sophie, Anita
Page; Alf, Norman Foster; Sybil, Joyce Compton;
Saleslady, Judith Vosselli; Elsie. Dorothy Appleby;
Landlady, Maude Eburne; Babsy, Claire Dodd;
Francois, Paul Porcasi; Lucille, Mary Doran;
Wallers, Murray Kinnell; Man About Town, Walter
McGrail.
"UNEXPECTED FATHER, THE"— Univer-
sal.— Adapted by Dale Van Every. Directed by
Thornton Freeland. The cast: Jasper Jones, Slim
Summerville; Polly, ZaSu Pitts; Pudge, Cora Sue
Collins; Mrs. Hawkins, Alison Skipworth; Evelyn
Smythe, Dorothy Christy; Claude, Claud Allister;
Reggie, Tyrrel Davis; Policemen, Tom O'Brien and
Richard Cramer.
"UNION DEPOT"— First National.— From
the play by Laurie, Fowlers and Durkin. Adapted
by Kenyon Nicholson and Walter De Leon. Directed
by Alfred E. Green. The cast: Chick, Douglas Fair-
banks, Jr.; Ruth, Joan Blondell; Scrap Iron, Guy
Kibbee; The Baron, Alan Hale; Bernardi, George
Rosener; Little Boy, Dickie Moore; Welfare Worker,
Ruth Hall; Waitress, Mae Madison; Mabel, Polly
Walters; Kendall, David Landau; Actress On Train,
Lilian Bond; The Drunk, Frank McHugh; A Ragged
Urchin, Junior Coghlan; Society Woman, Dorothy
Christy; Sadie, Adrienne Dore; Cafe Proprietress,
Eulalie Jensen; Woman on Platform, Virginia Sale;
Train Caller, George MacFarland; Parker, Earle
Foxe; Daisy, Mary Doran.
"WOMAN COMMANDS, A "— RKO-Pathe.—
From the story by Thilde Forster. Adapted by
Horace Jackson. Directed by Paul L. Stein. The
cast: Madame Maria Draga, Pola Negri; King
Alexander, Roland Young; Capt. Alex Pasilsch, Basil
Rathbone; Col. Slradimirovitsch, H. B. Warner; Iwan,
Anthony Bushell; The Prime Minister, Reginald
Owen; Mascha, May Boley; The General, Frank
Reicher; Chedo, George Baxter; Crown Prince Milan,
Cleo Louise Borden; Adjutant, David Newell.
"WOMAN FROM MONTE CARLO. THE"—
First National. — From the story by Carla Von
Jensen. Adapted by Harvey Thew. Directed by
Michael Curtiz. The cast: Lottie, Lil Dagover;
Captain Corlaix. Walter Huston; D'Orlelles, Warren
William; Brambourg, John Wray; Morbraz, Robert
Warwick; Le Due, George E. Stone; Chief Petty
Officer Vincent, Matt McHugh; The Dowager Sister,
Maude Eburne; The Cook, Dewey Robinson; Lieut.
Rosseau, Robert Rose; Defense Attorney, Reginald
Barlow; The President, Frederick Burton; Verguson.
John Rutherford; The Pilot, Frank Leigh; A Man of
the World, Paul Porcasi; Doctor Raheouf, Oscar Apfel;
Admiral. Jack Kennedy; Anna, Elinor Wesselhoeft;
Chief Engineer. Ben Hendricks. Jr.; Karkuff, Francis
McDonald; Fourdylis Warner Richmond; Sengeleace,
Clarence Muse.
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I 26
Photoplay Magazine for February, 1932
SUN DRENCHED
Heaith-Giving
Winter Days
• The world-famous Ambas-
sador offers a new outdoor
attraction. . . A BEAUTIFUL
SUN-BATHING BEACH.PLUNGE
AND COMPLETE RECREA-
TIONAL CENTER, WITH
SOLARIUMS AND PHYSICAL
CONDITIONING DEPART-
MENTS IN CHARGE OF EXPERT
ATTENDANTS.
• The charm of desert sands,
ocean beach, swimming all
within the Ambassador's own
22-acre park. Not a sanitarium
... a playground to make tired
people well indwell people better.
• This center of Los Angeles
and Hollywood social life also
offers tennis courts, 18- hole
miniature golf course, archery,
flowered pergola walks, cactus
gardens, theatre, Cocoanut
Grove for dancing, 35 smart
shops. Ambassador auditorium
seats 7,000. Guests have privi-
lege of champion 18-hole
Rancho Golf Club.
Most Attractive Rates
. . . Outside rooms
with Bath as low as
$5 per day. Write
for Chefs booklet
of California recipes
and information.
Cke AMBASSADOR
LOS ANGELES
BEN L FRANK
Manager
Advice on Girls' Problems
[ CONTINUED FROM PACE 75 j
expression by girlishly waved hair and a
slightly petulant mouth make-up.
A long bob caught back behind the ears, long
earrings and bangs seem to lengthen her face,
while a bangless brow and hair caught in a
twist just at the nape of the neck give her a
childish, round-faced look.
Girls with " baby" faces should never overdo
curls and Huffy hair. And they should be care-
ful to avoid making their mouths look pouty by
stressing a cupid's bow.
Another girl wrote to me saying, "I am a girl
of Joan Crawford's type, but where she is
brilliant and popular, I am dull. People just
seem to forget my existence."
Why then should two girls resemble each
other in some respects and not in others? Be-
cause in one there is a spark that flashes forth
to radiate her whole being. But in the other
the spark has been quenched by self pity and
not enough self-analysis. This girl can be a
second Joan if she will analyze her favorite and
then apply what she sees to herself.
Observation is the first step toward being
what you want to be. We all have to have a
model — few of us are creators.
The girl who wrote the following paragraph
to me is bound to get what she wants. She
says, "One thing I am going to do and that is
cut out the sub-title of your article which
reads, 'Any Girl Can Be What She Wants To
Be.' I'm going to paste it right up on my wall
by the mirror so I can see it all the time. I
know what I want to be — I know what I strive
to have, and that is personality!"
Orla K.:
The tapering line from hip to knee is of vital
importance this year in view of the molded
fashion silhouette. The following exercise is
unusually beneficial for both hips and thighs.
Lie flat on your back on the floor. Keep
your head and shoulders as close to the floor as
possible. Then raise the right leg, swing it over
the left, stretch it until you have it at right
angles with the body, then give another pull on
the stretched muscles and return to place.
Then swing over with the left leg the same way.
Be sure to roll on the hips and not with the
body. If you do this faithfully morning and
night, I am sure you will find good results.
A number of the prominent cosmetic houses
put out bath oils that will aid your dry skin. I
would suggest, too, that you bathe in lukewarm
water and be sure to use a bland soap. If you
are willing to take the time, it would be good to
rub your body with an oil about once a week.
Leave it on while resting, then remove it and
sponge the body.
Bubbles:
You are about four pounds underweight.
However, at your age, that is nothing to worry
about. Just try to eat more butter on your
foods, more milk and plenty of leafy vegetables.
Also sweets and fruits. Be sure to get plenty
of sleep at night, that is the best way to build
up the body.
Bobby:
Oils and unguents will make your hair
appear some darker but at the same time you
will find they tend to make your hair look oily.
I would suggest instead, that you use one of
the good washes advertised in Photoplay to
give your hair a nice sheen. Brush your hair
every day also, as brushing brings out all the
natural gloss in the hair.
Tall girls get a break this year. All those
dressy sleeves, belted waistlines and trick seam-
ings help to cut down their height. You can
wear two-piece effects, peplums and tiers. Any
full sleeves will add width to your silhouette
and thus shorten you up some. Choose coats
that have the slim silhouette but lots of fur
bulkiness at the top. Avoid vertical lines and
surplice effects. Wear round or square neck-
lines.
Jante H.:
You will find that the following costume
colors will flatter your brown-haired, blue-eyed
type: Most shades of blue from light to the
rich tones, soft shades of green, especially those
with a bluish cast, gray, rust, golden brown and
the deeper browns, burnt orange and tomato
color, black with color touches or white. Pale
pinks and soft rose. Most shades of yellow.
Why don't you try a coral tone in rouge and
lipstick? New and smart for both blondes
and brunettes. A creamy tone of powder.
You should weigh about 136 pounds, Jane.
Who but a Garbo
could get away with
this hairdress?
This is one of her
coiffures in "Mata
Hari." It's what we
used to call a "wash-
er woman's knot"
,
Photoplay Magazine for February, 1932
127
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No reader can afford to be without a copy of this
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you have seen on the screen.
The outside measurement of the book is 1)4. x IOJ/2
inches, and the size of each portrait is 5^£ x lYi
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The portraits are rich, rotogravure reproductions,
and under each is a brief biographical sketch of
the star featured, including such information as
age, weight, height, complexion, etc. Just the
kind of information that you want.
The cover is a handsome Red Art Fabrikoid with
gold lettering, a book you will be proud to own.
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. Stale .
"It iss dis way you must roll the eye, see?" That's what
director Ernst Lubitsch told Genevieve Tobin, and now re-
gard our little Genevieve doing her best to go "dis" way in
a scene with Maurice Chevalier in "One Hour With You."
And — oh, looky, looky— at Jennie's bangs. The last word
LET'S ramble. Here, for instance, is stage 14 on the
Paramount lot. Drab on the outside, maybe, but oh
boy, on the inside. Snappy, peppy music. A song. An
accent. A smile. A straw hat. Chevalier. Everyone
is happy on the- "One Hour With You" set. The scene is a
lady's boudoir. But then it usually is with that Maurice.
Genevieve Tobin in pink satin pajamas, bare feet and her hair
in bangs reclines on a gorgeous satin couch. Damita, little
Lily, sits off in a corner on a high stool studying her script like
a good child. Lily is in the French version. A vision with a
bubbling laugh passes by. Jeanette MacDonald. She's in it, too.
Over there by Genevieve is Lubitsch. "Look, look Gene-
vieve," he says. "It iss dis way you must roll the eye, see?"
Ernst, Ernst, how you can roll 'em! Maurice practices golf
shots behind the camera. The cameraman rushes over.
"Maurice, what's wrong with your hair," he asks. "Looks bad
in the rushes." "Well, when I am straight like dees," explains
Maurice, "eet is good. But when I bend the head, eet is no
good. Eet sticks out, eh. But that's all right, old fellow.
Dees fans know how funny I look anyhow. So what ees, eh?"
Now, they're ready for the song, "Three Times a Day." And
does it zip. And is Maurice a zipper. Everyone sways to the
music. From prop boy to Lubitsch. It's ended, too soon.
And suddenly from her stool in the corner comes a loud French
raspberry from Damita. Surprised, Chevalier looks around.
And right back goes a louder, Frenchier raspberry. All in fun.
But wait, wait till you hear the music in "One Hour With
You." Oooooo Maurice, la la.
Let's all, just for fun, go to a speakeasy. There's one on
the Radio lot and it's packed. At one table sits Bob Armstrong,
Joel McCrea, Hugh Herbert. Richard Dix, three-fourths
soused (only pretending, auntie, only pretending) is trying to
make a speech. But nobody knows what about. Not even
Richard. The scene is from "The Lost Squadron." Aviators
home from the world war are on the skid. Down. There's a
pathetic helplessness about these heroes returned. A sort of
bewildered helplessness.
Waiters fly about with huge coffee cups full of, well, anyway,
it's served in cups. Between shots Dix insists on having his
/ 28
Otudio
JAambles
By
Sara Hamilton
music. The orchestra tears out "The Merry Widow Waltz"
while Richard paces madly up and down repeating and re-
peating his lines. It's a wild confusion. The girls are garbed
in 1918 hobble skirt suits.
From a speakeasy to a pent house with George Arliss. Only
in Hollywood could it be done. Everything is heavy drama on
"The Man Who Played God" set. Arliss, a musician who has
gone quite deaf, sits at the piano, playing. He hears no
sounds. Maddened, he springs to his feet. Across the room,
with that strange Arliss swing, he goes. A violin rests on the
table. Enraged, he seizes it. High in the air he holds it.
There's a pause. Deadly. Awful. Then suddenly he brings
it down. A resounding smash. And in his hands remain the
remnants of his beloved instrument. Horrified, he surveys it.
And then a mad dash to the window. Quick. He's on the
ledge. And we're on the floor with one arm around the assistant
director's leg and trying to strangle the publicity woman with
the other. It's tremendous. Over and over they shoot it.
It keeps one property man busy racing back and forth with
violins for Mr. Arliss to smash.
BUT if you think that's excitement, wait, just wait, till we get
onto the "Fireman, Save My Child" set with Joe E. Brown.
We hear a strange, crackling noise as soon as we open the
huge sound stage door. There's a pungent odor of smoke.
Why, it couldn't be, you think. But it is. The whole corner
of the sound stage is a roaring, blazing fire. Up the velvet
drapes it creeps. Now the curtains go, a blazing mass. The
furniture catches. The walls. It's a whole sheet of flame.
Firemen from Hollywood stood tense on the side lines. "Wait,"
cried Joe E., the hero in the midst of all the blazing, "I can put
out this fire with my magic bombs. Gather about me." We
gather. Holding our breath. Quickly he opens his case. And
heaven help us he pulls out — a lady's teddy. It's the wrong
case. Now there is a scramble. Extras can't make up their
minds whether it's all in the picture or real. Everyone is
running about. Props are overturned. Even the firemen look
worried. The entire Mexican polo team who have come to
look on, think a sudden revolution has broken out.
The fire has spread. It's terrifying. Shouts. Screams.
Yells. Windows are broken with the heat. More screams.
But never mind, children. In the nick of time Joe recovers
the right case and he did put out that fire. But not with a
lady's teddy. And after all it was all a part of the picture.
Wait till you see "Fireman, Save My Child."
1
here's more chicle in it
. . that's what makes it better
L0T
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Riding to greater smoking pleasure
"You get more enjoyment from smok-
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"Of course, I use Beech-Nut Gum
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It's the amount and the quality of the CHICLE used that
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eech-Nut
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BEECH-NUT FRUIT DROPS, TOO,
800 California oranges; 1,000 Italian
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"It's that delightful taste
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Luckies. No harsh irritants for
me...lreachfora Lucky instead.
Congratulations on your
improved Cellophane
wrapper. I can open it.
Who can forget Edmund Lowe as
"Sergeant Quirt" in "What Price
Glory?" That mighty role made Eddie
famous in filmland — and he's more
than held his own in a long line of
talkie triumphs. We hope you saw him in
the "Spider." And be sure to see him
in the Fox thriller, "The Cisco Kid.
66
m
Your Throat Protection — against irritation — against cough'
And Moisture-Proof Cellophane Keeps
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Photoplay Magazine for March, 1932
■ ------- ,--
* #
I
173 2'
* A ^ ^ * ^ - w^fr
I932
*'
commemorate the year of the
{^ccruh^ l/Ua4HM4XfUrpv /4^tC£^i
I932
T
.his year the American people celebrate
the two-hundredth anniversary of the
birth of George Washington, father of
our country.
To help commemorate this important
anniversary, the Gruen Watch Makers
Guild has created six fine watches, known
as the Washington Series.
Designed in the true Early American
spirit, their cases reflect the quaint, simple
beauty of Colonial times; their move-
ments the sturdiness and rugged honesty
of America's pioneers.
The Gruen jeweler in your communitv
has arranged a special showing of these
anniversary watches. Each one represents
a value far beyond its moderate price. Be
sure to see them. Other fine Gruen
Watches for men and women for as little
as $29.75. Gruen Watch Makers Guild,
Time Hill, Cincinnati. Branches in various
parts of the world. Largest manufacturers
of fine watches exclusively — engaged
in the art of fine watchmaking
for more than half a century.
This emblem is displayed
only by jewelers of high
<ii^y^ business character, qualified
GRUEN members of the Gruen Guild
The MOLLY PITCH-
ER, a 15 -jewel Gruen
Cartouche* in a new and
practical design of trim
simplicity, with bracelet
of matching design,
$37.50
The MARTHA WASH-
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timekeeping Baguette*
designed in the popular
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7 'he GEORGE WASHINGTON,
newest Gruen Quadron, with its fa-
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its stalwart, white gold-
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The BETSY ROSS, a
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white gold-filled Gruen of
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$42.50
* Your choice of 14 kt. white or coin
gold-filled cases of highest quality
L
GRCJENC^
ved^
Photoplay Magazine i or March, 1932
GAYEST SCREEN
EVE NTof the YEAR!
Chevalier! Captivating all the
world with laughter and lovel
Gay, irresistible, romantic!
Jeanette MacDonald — beau-
tiful, tuneful sweetheart of
"The Love Parade"! Genevieve
Tobin, brilliant comedienne!
Charlie Rugglesl Roland
Young! What a cast! What a
swell time you'll have at this
Paramount Picture! What a
swell time you have at all
Paramount Pictures — always
the best shows in town'l
MAM
IN AN
ERNST
f
LUBITBCH
PRODUCTION
ONE HOUR WITH YOU,,
JEANETTE MacDONALD
WITH
u.nd.erEr„\e, \M'b.r,v.'«h°." V GENEVIEVE TOBIN . Charlie Ruggles
Directed, by George Cukor
Music by Oscar Straus
Roland Young
*'^ p»R»Mni'VT pubi iy rriRPi-iRiTioM »nm ph 7i,m« *^ pbp<; paramount Rinfi
PRES.. PARAMOUNT BLDG.. NEW YORK,
OTOP
The World's Leading Motion Picture Publication
Vol. XLI No. 4
JAMES R. QUIRK, Editor and Publisher
March, 1932
Winners of Photoplay
Magazine Gold Medal for
the best picture of the year
1920 1921 1922
"HUMOR- "TOL'ABLE "ROBIN
ESQUE" DAVID" HOOD"
1923 1924 192?
"The "ABRAHAM "THE BIG
COVERED LINCOLN" PARADE"
WAGON"
1926 1927 1928
"BEAU "7th "FOUR
GESTE" HEAVEN" SONS"
1929 1930
"DISRAELI" "ALL QUIET ON THE
WESTERN FRONT"
Information and
Service
Brickbats and Bouquets .... 6
Friendly Advice on Girls'
Problems 16
I Questions and Answers .... 86
Hollywood Menus 89
Screen Memories from Photoplay . 116
Addresses of the Stars 120
Casts of Current Photoplays . . . 125
High-Lights of This Issue
Close-Ups and Long Shots James R. Quirk 25
How Garbo's Fear of People Started . . . Katherine Albert 28
What Really Happened to Buddy Rogers . Llewellyn Carroll 30
The Ex-Mr. Swanson Club Leonard Hall 32
Cal York's Monthly Broadcast from Hollywood 36
The Unknown Hollywood I Know . . . Katherine Albert 40
Come On, You Fat Girls! Hey, You Skinny Girls! . . Sylvia 46
I'm Forever Chasing Garbo Leonard Hall 58
Seymour — Photoplay's Style Authority 61
It's All Done With Scissors 70
Photoplay's Famous Reviews
Brief Reviews of Current Pictures 8
The Shadow Stage 48
Short Subjects of the Month 119
Personalities
Joan Crawford and Constance Bennett 27
A Gallant Mother Franc Dillon 45
Claudette, Your New Screen Clothes Are Grand! ... 52
Telling on Norma Sara Hamilton 54
When I Faced Death Tom Mix 56
She Talked Too Much Ruth Biery 57
"Li'l Gawgia" Gets Glamour! Al Hughes 66
He Won't Argue Sara Hamilton 68
Loretta Goes Oriental 71
George Arliss 72
Published monthly by the Photoplay Publishing Co.
Editorial Offices, 221 W. 57th St., New York City Publishing Office, 919 N. Michigan Ave., Chicago, 111.
The International News Company, Ltd., Distributing Agents, 5 Bream's Building, London, England
James R. Quirk, President Robert M. Eastman. Vice-President Kathryn Dougherty, Secretary and Treasurer
Yearly Subscription: S2.50 in the United States, its dependencies. Mexico and Cuba; S3.50 Canada; S3.50 for foreign countries. Remittances
should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.
Entered as second-class matter April 24, 1912, at the Postofnce at Chicago. 111., under the Act of March 3, 1879.
Copyright, 1932, by the Photoplay Publishing Company, Chicago
What the Aud
lence
Th
ink
With Brickbats and Bou-
quets Photoplay Readers
Voice Their Opinions of
Pictures and Personalities
THE $25 LETTER
To the blue noses of the Society for the Pre-
vention of Everything in General, who love,
when the occasion offers itself, to chorus, "The
movies are sending our young folks straight to
the devil," I, one of the young folks, a senior
in high school, would like to reply that if we
really feel the craving for unhealthy thrills
there are far more exciting places to go to get
them than a movie theater.
To the average parent who shakes his head
dubiously and says, "Well, I don't know, I
suppose the youngsters do get ideas from what
they see," I should like to say that we have
already got all the ideas from sources other
than the movies.
And I would like to say further that George
Arliss, Marie Dressier, Polly Moran and Joe
E. Brown are just as great favorites with my
classmates as the sex-appeal cuties.
Edward T. McNamara, Danbury, Conn.
THE $10 LETTER
Our mother is past middle age and we are
two young daughters endeavoring to live in
this cigarette and cocktail era not too prudish-
ly, but with the least possible friction at home.
Flie movies are our mediator. We take mother
to all the star productions. Here she sees
modern clothes, and modern life as it is lived
today in which her own two daughters must
take a part. She would never agree that we
place ourselves in the same circumstances as
Joan Crawford in "Possessed," but she does
realize, through these enlightening movies,
that there has been many a step forward since
the horse and buggy days.
Dora Barnard, Tulsa, Okla.
THE $5 LETTER
The trouble with picture players is that they
want to be too versatile, or their directors want
them to be. Why not let them do what they
do best? Then we can choose our pictures by
the cast.
What happened after "The Love Parade"?
As delightful and romantic a pair as ever sung
and made love while dwelling in marble halls
were separated and not allowed to do too much
singing. I speak of Maurice Chevalier and
Jeanette MacDonald.
Leslie Howard, the genius of "Outward
Bound." was blocked into a wooden peg. the
conventional husband with a no-good wife
but an oh-so-good child, for Ann Harding to
hang her "Devotion" on!
Joe E. Brown, prince of comics, we are asked
to consider, seriously, in college stulT! Lilvan
Tashman is so much admired as an exponent
of up-to-the-minute gowns that she was put
into khaki for "The Mad (and Sad and Bad)
Parade"!
Now I'm going to see Marilyn Miller, that
wonderful dancer, in a picture where she dances
but once.
E. D. Girrioer, New Bedford, Mass.
Why, Mrs. Thalberg, that's no way
for a lady to act! And you, with a
boy of your own! Many people
objected to the big fight and break-
age scenes from "Private Lives"
and begged Norma and Bob Mont-
gomery to calm down
' I ,HE Garbo fans are at it again,
•*■ since the release of "Mata
Hari" and the article in the
January PHOTOPLAY called
'■Hollywood's Cruelty to Greta
Garbo." Some liked "Mata
Hari" (and how they liked it!)
and some didn't (and how they
didn't!). Is there a man. woman
or child who has a lukewarm
attitude toward Garbo?
There was a little squabble
about Norma Shearer and Rob-
ert Montgomery in "Private
Lives." and it was pretty gen-
erally agreed that Mrs. Thalberg
wasn't the type to play the ca-
pricious Amanda.
No dissenting votes cast in
Fredrie March's direction. Al-
most everybody liked "Dr.Jekyll
and Mr. Hyde." You'll find a
grand picture of him in our
color gallery this month.
"•Taxi." "Tonight or Never,"
"Ladies of the Big House." and
"Emma" arc the favorite films.
while Helen Hayes and Miriam
Hopkins, among the feminine
contingent, got the most praise.
Readers haven't forgotten Jack
Gilbert, and Clark Gable and
Jimmie Dunn are still ace-high.
When the audience speaks the stars and pro-
ducers listen. We offer thiee prizes for the
best letters of the month — $25, $10 and $5.
Literary ability doesn't count. But candid
opinions and constructive suggestions do.
Write up to 200 words, no more. We must
reserve the right to cut letters to suit space
limitations, and we are sorry but no letters
can be returned. Address The Editor,
PHOTOPLAY, 221 West 57th Street, New
York City.
IT'S GARBO AGAIN
I shall always admire Ruth Biery for her
sympathy and squareness in writing "Holly-
wood's Cruelty to Greta Garbo." Garbo
needs it, after the vicious attacks of some of
your writers.
Helen Voigt, Syracuse, N. Y.
After reading "Hollywood's Cruelty to
Greta Garbo" in the January issue of Photo-
play, my admiration for the star has increased
tenfold.
I am so thankful for her great success, for
she rose so far above Hollywood's "400."
How ashamed they all must feel now.
Mrs. N. Elender, Houston, Texas
Did I rave when I read that hard luck story
about Garbo! It really exasperated me —
"Hollywood's Cruelty to Greta Garbo." Ruth
Biery acts as if no other actress had hard luck
on her climb to stardom. Did Garbo expect us
Americans to open our arms wide to a perfect
stranger? Garbo is dull.
D. S. Beecher, Indian Head, Md.
Greta Garbo is not a peasant girl, and as I
am also "one of those Swedes" and also from
Stockholm I know a little about Miss Garbo's
family. They are not rich people but vera
nice and educated — far from peasants.
Anna B. Strindberg, Havana, Cuba
MATA HARI'S CLOTHES
In my opinion, "Mata Hari" was Garbo's
best as far as acting is concerned, but won't
someone please tell her to stop wearing such
ridiculous clothes and hair arrangements.
Mrs. Jeanne Florio, New Haven, Conn.
Greta Garbo has long been a great actress,
but "Mata Hari" places her as the supreme
actress of the American screen. Never has she
been more fascinating, never has a role suited ij
her better, never has Adrian designed such
exotic clothes.
Kenneth Jordan-, San Antonio, Texas
If there is anybody left who doubts that
Garbo can act as well as be glamorous and
enigmatical, let him see "Mata Hari" or
forever hold his peace. She surpasses all
former performances.
Dorothy H. Avery, Morganton, N. C.
STAR OR STORY?
Give me the good old days when we went to
see a show and not to see a star. Nowadays
it's the star's name that is draped all over the
billboards and if we look closely we sometimes
find the name of the picture in small print.
My hat is oiT to the producer who knows how :
to find suitable stories in which to cast our i
favorite stars.
Alton Taylor, Grenada, Calif, J
[ PLEASE TURN TO PAGE 10 ]
Photoplay Magazine for March, 1932
B«i£HJB!NSWN
THE SCREEN'S
GREATEST CHARACTER ACTOR
Jr. V
Tf//# LURETTA
as roya San the beautiful butterfly
broken on the wheel of life.
DUDLEY DICGES
Based on a play by Achmetl
Abdullah and David Belasco
. . . Screen play by J. Crubb
Alexander . . . Directed by
WILLIAM A. WELLMAN
HATCHET
a. \. Purple nights! . . . v/ords of
| ^ love! . . . All the witchery of
I — tne mystic East with its tangled
*—. skeins of numan passion pervades
"j~T "The Hatchet Man" . . .
H^* It is a symphony of blazing
emotions ... Stark, elemental
drama . of a man who gives
— oi a woman wno takes—— of a
butterfly who singes ner wings at for-
bidden flames . . . X hrilling! powerful!
breath-taking ! with tne screen s most
versatile character actor scaling the
highest peak ol emotional portrayal.
A FIRST NATIONAL XrVITAPHONE PICTURE
Consult this pic-
ture shopping
guide and save
your time, money
and disposition
Jjrief JXeviews of
Current Pictures
•jc Indicates photoplay was named as one of the best upon Us month of review
AGE FOR LOVE, THE— Caddo.— Billie Dove is
good but the old familiar story doesn't click. (Oct.)
ALIAS THE BAD MAN— Tiffany Prod.— You
probably won't like this even if you're a Western fan.
Ken Maynard is okay — but you simply don't believe
that story. (Sept.)
ALMOST MARRIED — Fox— A competent cast.
including Ralph Bellamy and Violet Heming (stage
star), struggle valiantly with a weak story, silly
dialogue and careless direction. (Feb.)
AMBASSADOR BILL— Fox.— Will Rogers, a
mythical kingdom and a lot of laughs. (Dec.)
ANYBODY'S BLONDE— Action Pictures.— Prize-
fight stuff, with some laughs and exciting moments.
(Feb.)
• ARE THESE OUR CHILDREN?— Radio
Pictures. — Inside, and pretty serious stuff on
what goes on in some high schools. Neither parents
nor children should miss it. (Dec.)
ARIZONA — Columbia. — (Reviewed under title
"Men Are Like That.") Laura La Plante and John
Wayne find life and love at an army post. (Ocl.)
• AROUND THE WORLD IN EIGHTY
MINUTES— United Artists.— Douglas Fair-
banks in the funniest, trickiest, peppiest travelogue
you've seen. A novelty you must not miss. (Jan.)
• ARROWSMITH — United Artists.— Neither
author Sinclair Lewis nor you will find fault
with this. The story of a doctor, beautifully done by
Ronald Colman and Helen Hayes. A great picture.
(Jan.)
• BAD COMPANY— RKO-Pathe.— A gang
picture that's different, with Helen Twelve-
trees and Ricardo Cortez doing some fine acting.
(Nov.)
• BAD GIRL — Fox. — You'll laugh and cry over
this, made from the novel of the same name.
Sally Eilers is all the girls who live next door.
That new kid, James Dunn, bears watching. Don't
miss this one. (Sept.)
BEAST OF THE CITY. THE— M-G-M.— Inside
workings of a city police department — with Jean
Harlow and Walter Huston. (Feb.)
BELOVED BACHELOR, THE— Paramount.—
Complications between a sculptor, his ward and his
sweetheart. Paul Lukas and Dorothy Jordan arc the
heartthrobs — Charlie Ruggles screamingly funny.
(Dec.)
BEN HUR— M-G-M.— Although filmed in 1Q25
and dressed up in new sound effects, this Ramon
Xovarro-Francis X. Bushman picture is still eye-
filling and exciting. (Feb.)
BIG SHOT, THE— RKO-Pathe.— A clean little
yarn. Eddie Quillan puts over startling business
deals and wins Maureen O'Sullivan. (Feb.)
BLACK CAMEL, THE— Fox.— Here's your old
pal Charlie Chan (sure, it's only Warner Oland) un-
raveling the mystery of a movie star's murder in
Honolulu. Great stuff for the mystery-minded and
other folks, too. (Sept.)
• BLONDE CRA7.Y -Warners.— (Reviewed un-
der the title Larceny Lane.") James Cagney
and Joan Blnndell in another "crook picture" that's
top-notch entertainment. (Oct.)
• BOUGHT— Warners.— Connie Bennett and
her father, Richard, rip off a real picture.
Elegant acting, clothes you'll be ca-razy for, and a
vivid, human story. Ben Lyon does the best work
of his career. (Sept.)
BRANDED — Columbia. — Good scenery, good
riding, good ol" Buck Jones. But let's have less talk
and more action in Westerns. (Ocl.)
8
BRANDED MEN— Tiffany Prod.— An old-time
Western with more action than a Democratic con-
vention and just as many thrills. Ken Maynard,
June Clyde and Tarzan, the horse. (Feb.)
BRAT, THE— Fox— Remember Sally O'Neil?
What a comeback the kid stages in this old Maude
Fulton comedy-drama. And what a rough and
tumble fight she and Virginia Cherrill havel (Sept.)
• BUSINESS AND PLEASURE— Fox.— Will
Rogers is a riot. (Oct.)
CAPTIVATION — Capital Prod. — Ho-hum, a
wife-in-name-only situation, a stouter Conway Tcarle
and a leading woman who almost out-Dietrichs
Garbo. Made in England. (Dec.)
CAUGHT— Paramount.— The plot is pretty silly.
Boy (Dick Arlen) finds mother (Louise Dresser) is
outlaw he was sent out to get — but Louise is worth
the admission. (Sept.)
Watch !
Next Month's
Photoplay
for the beginning of
the most
complete and
amazing beauty
service ever offered
American young
womanhood
CAUGHT PLASTERED— Radio Pictures.— (Re-
viewed under the title "Full oi Notions.") — If you
like Wheeler and Woolsey, don't let this get by you,
for it's one of their best comedies to date. (Sept.)
• CHAMP, THE — M-G-M. — You'll laugh,
you'll cry, you'll thrill at this superb picture
with those two great artists. Jackie Cooper and
Wallace Beery. Don't miss this one. (Dec)
CHEAT, THE— Paramount. — In which Tallulah
Bank head does her acting stuff in an old-fashioned
story. (Jan.)
• CISCO KID, THE— Fox.— Warner Baxter
makes the girls' hearts beat double time in this
thriller. The plot isn't new but the treatment is. (Not.)
COCK OFTHE AIR— United Artists.— Obviously
meant to be whimsical, this Billie Dove story about
a ravishing war-time Parisian beauty went haywire
somewhere along the line. Pretty risque. (Feb.)
COMPROMISED — First National.— ( Reviewed
under the title "We Three. "I Just uh-huh on this
one. It neither bores nor thrills. About a million-
aire. {Nov.)
• CONSOLATION MARRIAGE— Radio Pic-
tures.— Don't miss this truly sophisticated lu31
movie, with Irene Dunne and Pat "Front Page"
O'Brien. (Xo:.)
CONVICTED — Supreme Features. — A murder
mystery at sea and a good one. with Aileen Pringle
and Harry Myers. (Dec.)
CORSAIR — United Artists. — Familiar gangster
activities transferred to a marine setting, without im-
provement. Chester Morris. (Jan.)
• CUBAN LOVE SONG, THE— M-G-M —
Lawrence Tibbett's voice, Lupe Velcz' love-
making and Jimmy Durante's darn foolishness in a
lusty story of marines in Cuba. Great stuff. (Dec.)
DANGEROUS AFFAIR, A— Columbia— A fast-
moving and surprise-filled "shrieker" with Jack Holt
and Ralph Graves. (Not.)
DAUGHTER OF THE DRAGON— Paramount.
— Sessue Hayakawa and Anna May Wong in an
Oriental mystery. Recommended if you like your
murders sinister. (Oct.)
DEADLINE, THE— Columbia.— A Western with
a really good plot. Better than the average horse
opera. Buck Jones. (Jan.)
DECEIVER, THE— Columbia.— Wicked deceiver,
young girl, backstage atmosphere and a murder. Ian
Keith and Dorothy Sebastian. (Feb.)
DELICIOUS — Fox. — Recommended for Janet
Gaynor-Charles Farrell fans and lovers of clean
entertainment. Janet is a Scotch immigrant and
Charlie the rich young American. (Feb.)
DEVIL ON DECK— Thrill-O-Drama.— All about
a brother's revenge in midocean and the wicked sea
captain's just desert. (Feb.)
• DEVOTION— RKO-Pathe.— Perfect cast, ex-
cellent direction and sparkling dialogue make
this moth-eaten plot a picture you must not miss.
Ann Harding. (Not.)
• DR. JEKYLL AND MR. HYDE— Para-
mount.— Another horror picture that will send
cold chills and thrills up your spine. Fredric March
and Miriam Hopkins are great. Fred handles the
difficult dual role superbly. Marvelous stuff, but
don't take the kids. (Feb.)
DREYFUS CASE, THE— Columbia.— An accu-
rate account of the famous Drcyfus-Emile Zola
rumpus, made in England with a fine British cast.
{Nov.)
EAST OF BORNEO— Universal.— The title tells
the story. Real Borneo scenery, excellent studio
"fakes." Charles Bickford and Rose Hobart make
it interesting enough. (Sept.)
• EMMA — M-G-M. — Another laurel wreath for
Marie Dressier. She makes you laugh and cry
in this moving drama of an old servant's love for her
master's children. (Feb.)
ENEMIES OF THE LAW— Regal Prod.— Unless
you want to see Lou Tcllegen's brand new face-lift,
you can check this off your list. Not even Mary
Nolan's beauty compensates for that old formula
877 — a gangster story. (Sept.)
EXPLORERS OF THE WORLD— Raspin Prod.
■ — Six oi the world's greatest explorers tell their
adventures in words and pictures. (Feb.)
EXPRESS 13— UFA.— A thrilling German-
dialogue film that makes you wish you'd paid more
attention to your German teacher. (Ocl.)
FALSE MADONNA, THE— Paramount.— This
doesn't make you laugh but it hits your heart. Kay
Francis is good but a new boy, John Breeden. steals
the show. (Jan.)
1 PLEASE TURN TO PAGE 12 ]
Photoplay Magazine for March, 1932
harlie Chans Chance
WARNER OLAND in another amazing adventure of Earl
Derr Biggers' master sleuth! With eyes that see all, lips that tell
nothing, Charlie Chan unmasks the most sinister crime of his career.
Directed by John G. Blystone, with Alexander Kirkland, H. B.Warner,
Marian Nixon, Linda Watkins .... A mighty murder mystery!
I
What the Audience Thinks
[ CONTINUED FROM PACE 6
CLARK, JIMMIE AND FRED
I have just been to see "Dr. Jekyll and Mr.
Hyde" and I was thrilled, for Fredric March
proves his talent conclusively and has shown
us that he can do the brilliant, intense scientist
and the repulsive, destructive beast as well as
conventional roles. Could Clark Gable do it-
Or the suddenly popular James Dunn? How
about a little recognition where it is deserved?
Caroline Crosby, Detroit, Mich.
Art with a great big A certainly describes
Fredric March's latest picture, "Dr. Jekyll
and Mr. Hyde." It is a marvelous portrayal of
the good and bad there is in all of us, a sinister
warning to each and every one of us not to
allow the baser nature to overcome the better.
Mrs. R. B. David, Dayton, Ohio
SPIRITUAL LESSON
Many years I have attended my church
faithfully, but never before has a sermon on
"the wages of sin is death" been brought to me
so forcefully as it was in the phonoplay "Dr.
Jekyll and Mr. Hyde." Here I saw portrayed
vividly the result of one following his baser
impulses and the effect not only on himself,
but upon those with whom he came in con-
tact. I came away from the picture feeling
that I had been taught a spiritual lesson.
Miriam Miller, Washington, D. C.
"DELICIOUS" AMERICANIZATION
Some said, "Greta, I think those clothes you wore in 'Mata Hari' were
grand and you looked just that much more charming because of them."
Others said, "Greta, those clothes you wore in 'Mata Hari' were terrible
and we hope you won't dress like that again !" The gown she's wearing
here caused the most comment
NORMA'S PRIVATE LIFE
I have always admired Norma Shearer, but
in "Private Lives" I saw a new Norma. A
Norma no longer alluring; who fought and
kicked like a rowdy and shrieked like a shrew.
Margaret M. Markhan, Saginaw, Mich.
Norma Shearer is known as a faithful wife,
a devoted mother and an exemplary character
in her "private life." Why did she have to be
dragged through the cheap role she played in
"Private Lives"? There she played tag with
marriage, divorce and re-marriage. Mr. Play-
wright, keep congruity between the stars and
their roles.
Gertrude Seaford, San Francisco, Calif.
Just as I had begun to despair of ever seeing
Norma Shearer in another comedy, along
came "Private Lives." I loved it and I loved
Norma.
I know only one adjective which will ade-
quately describe her acting, and that is
"perfect." Norma never disappoints.
F. A. Spaulding, Chafee, N. V.
LESSONS IN A THEATER
The blow of my life came when I was in-
formed that my eight-year-old daughter could
not continue in the public school. Illness had
retarded her mental growth to such an extent
that she could not be taught the most simple-
things, yet, strangely enough, her body had
recovered. This made her appear doubly
stupid.
We began sending her to educational talkies,
of which she is extremely fond. Gradually she-
acquired a fund of general information and an
incentive to learn to read. She has practically
no social contacts, and the movies are her
fairyland.
Now she is attending the day school, where
she has a special teacher. I shudder to think
what would have happened to her without
the help of talkies.
Mrs. M. S. Saunders, Multnomah, Ore.
SEES WITH HER EARS
I am a blind old lady who had very few
pleasures before talkies. Now I can hear the
movies and I picture in my mind how these
talented artists look. I like to classify their
looks by their voices. I love to hear Janet
Gaynor and would not think of missing one
of her pictures.
ZaSu Pitts, with her funny voice, is an ideal
person for mental picturing. Clark Gable's
brutal voice and Greta Garbo's delicious accent
are fascinating.
Bulla Mazur, Cleveland Hts., Ohio
HEARS WITH HER EYES
The advent of the talkies sounded my death
knell, for I am one of the great army of the
hard of hearing. Living in a town of only
eighteen hundred people, I found the movies
my only diversion. Last summer a teacher
from a school for the deaf and dumb came to
town for five weeks and initiated me into the
new world of lip reading. Now the talkies
teach me and I go every time the program
changes.
Hearing with my eyes gives me the feeling
of a very pleasant bowing acquaintance with
every mouth in t'llmdm.
Hazel K. Baxter, Enderlin, N. D.
I arrived in America from Wales nine years
ago but in all that time I have never had such
a feeling of pride and happiness because I am
an American citizen as I experienced during
the showing of "Delicious," with Janet Gaynor
and Charles Farrell. At the time of my arrival
in this country I was too young to understand
what it meant to be admitted to America.
This picture made me realize how fortunate I
really am.
Dvlis Evans, Margate City, N. J.
CANADIAN ANSWER
I spent a few days in the United States this
summer. I won't say that the screening was
only fairly good nor that the sound apparatus
was ghastly (as one of your readers said about
our theaters) but I can truthfully say that the
reception was not one whit better than the
showings in Canada, for I saw them again
here some time later.
Lillian Jennings, Toronto, Canada
LIVE, DON'T ACT
Movie queens, such as Garbo and Dietrich
and others, rely on their beauty rather than
brainwork to guide them through a picture.
These actresses could increase their drawing
power by taking a lesson from a future screen
idol — Mae Clarke, who says, "Simply live
your part, do not act it."
Joe J. Kovarik, Garfield Heights, Ohio
PUT ON YOUR CLOTHES, GIRLS
I would like to know why Tallulah Bank-
head had to dress and undress before the
public in "The Cheat"; why Barbara Stan-
wyck and Joan Blondell had to run around in
their underwear in '■.Night Nurse"; why pro-
ducers and directors believe that the success
of a picture depends on half clothed heroines.
Julia Youngs, San Antonio, Texas
[ PLEASE turn to page 112 ]
10
Photoplay Magazine for March, 1932
I I
Two reasons for iy
FILM is found by dental research to
play an important part in tooth decay
..to cause unsightly stain son enamel.
It must be removed twice daily.
Three rules for fighting it
Interesting theories on what makes
teeth decay. What to do
\ UTHORITIES now believe there are
x\. two causes of common tooth de-
cay. One is the lack of essential food
elements in diet . . . interior tooth struc-
ture when under-nourished shows a
tendency to disintegrate and offers"low
resistance" to disease.
The second cause is germs — or to
be more accurate, acids manufactured
by germs . These acids gradually dissolve
enamel and attack the part beneath.
Pepsodent tooth paste was developed
to remove the outside"enemy of teeth.
Only your diet — see suggestions — can
help you fight trouble from within.
Remove film on teeth
On your teeth a coating forms called
film. It is most prevalent after eating
and on rising in the morning.
Film is ugly. It absorbs the stains
from food and smoking. It dims the
sparkling brilliance of your teeth.
Film attracts the germs associated
with decay. It glues them tightly to the
tooth's enamel. What's more, film
makes an ideal incubator in which germs
grow and multiply. Film must be re-
moved for safety — twice every day.
A new cleansing material
Recently Pepsodent laboratories made
a notable discovery — a cleansing and
polishing material entirely new and dif-
ferent. This material is unsurpassed in
removing stained, destructive film. It
imparts a higher brilliance to tooth en-
amel. And, last of all, this new mate-
rial is SAFE — safe, because it's soft,
twice as soft as polishing material in
common use.
Because of its great safety it is urged
for cleansing baby teeth and for polish-
ing delicate enamel. Pepsodent .marks
the pinnacle of achievement in the mak-
ing of modern toothpaste. Rely on it.
Amos 'n' Andy brought to you by Pepsodent every night except Sunday over N. B.C. network.
1. Remove film —
use Pepsodent toothpaste every morning
and every flight.
2. Eat these foods —
One or two eggs,
raw fruit, fresh
vegetables, head
lettuce, cabbage
or celery . 'i lemon
v. ith or a ngeju ice.
One quarto) 'milk,
and other food to
suit the taste.
3. See your Dentist—
Adults at least
twice a year —
children every
3 months and at
the slightest sus-
picion of trouble.
USE PEPSODENT TWICE A DAY- SEE YOUR DENTIST AT LEAST TWICE A YEAR
Brief Reviews of Current Pictures
[NOED FROM PACE 8 ]
FANNY FOLEY HERSELF— Radio Pictures-
Edna May Oliver's tirst starring film. You'll laugh
and — what's more — you'll cry. In Technicolor. See
it. (Oct.)
FIFTY FATHOMS DEEP — Columbia.— Why
Jack Holt and Dick Cromwell on that same old
plot? Oh sure, they are deep sea divers in love with
one girl. [Nov.)
FIGHTING SHERIFF, THE — Columbia. —
Recommended tor dyed-in-the-wool Western fans.
Others will find it just average film fare. Buck
Jones is the hero. (Sept.)
FIRST AID— Sono Art.— In which a lot of people
— Grant Withers. Marjorie Beebe and Wheeler Oak-
man — do a lot of unconvincing things unconvinc-
ingly. (.Sept.)
• FIVE STAR FINAL— First National.— Rush
to the nearest theater. You mustn't miss
this exciting story of tabloid newspaper sensa-
tionalism. Eddie Robinson is superb. (.Sept.)
• FLYING HIGH— M-G-M.— Comedy with
snappy music used in just the right places.
Good dancing, good singing. Bert Lahr and Char-
lotte Greenwood. (Jan.)
FORBIDDEN— Columbia.— Barbara Stanwyck.
Adolphe Menjou and Ralph Bellamy give fine per-
formances in a gloomy "wages of sin" story. (Feb.)
• FRANKENSTEIN — Universal. — Not for
faint-hearted folks. This is strong horror stuff
which leaves you breathless. But what does that
matter? See it. Boris Karloff out-terrors Lon
Chaney. (Jan.)
FREIGHTERS OF DESTINY— RKO-Pathe.—
Cowboy songs and good comedy put the ginger in
this Western with Tom Keane and Barbara Kent.
(Jan.)
FRIENDS AND LOVERS— Radio Pictures.—
Adolphe Menjou, Eric Von Stroheim and Lily
Damita get tangled up in an involved yarn that tries
to be too sophisticated. (Oct.)
GAY BUCKAROO— Allied Prod.— Hoot Gibson
does his best. Roy D'Arcy his worst and Merna Ken-
nedy her sweetest in this formula Western. (Jan.)
GAY DIPLOMAT, THE— Radio Pictures.— Ivan
Lebedeff intrigues the ladies (Betty Compson and
Genevieve Tobin) in this story of Balkan intrigue.
(Oct.)
GIRL OF THE RIO— Radio Pictures.— Dolores
Del Rio comes back strong in this mildly interesting
talkie version of "The Dove." (Feb.)
• GIRLS ABOUT TOWN— Paramount— The
old gold digger story all dressed up in new
clothes. Kay Francis and Lilyan Tashman wear the
clothes and speak those smart lines. (Dec.)
GOOD SPORT— Fox.— Whistle the story— it's
that old and that familiar. But it has good dialogue
and Linda Watkins. (Jan.)
GRAFT — Universal. — A fast action thriller. Regis
Toomey is a dumbbell reporter and Sue Carol is
heart interest. (Oct.)
GREAT LOVER, THE — M-G-M. — Adolphe
Menjou breaks hearts. Irene Dunne breaks into
song. Both do good jobs. (Sept.)
• GREEKS HAD A WORD FOR THEM,
THE 'United Artists. — Sophisticated, smart
and different honestly I Ina Claire, Madge Evans
and Joan Blondell are the three gold diggers. .Not
for children. (Feb.)
GRIEF STREET— Chesterfield.— A wobbly mys-
tery story with pretty Barbara Kent and John
Holland. Save your time. (Dec.)
• GUARDSMAN, THE — M-G-M. — Alfred
I. unt and Lynn Fontanne. You'll be ca-razy
about them in this sophisticated comedy. See it,
but don't take the kids. (Oct.)
GUILTY GENERATION, THE— Columbia.—
No machine guns but plenty of action in this beer teud
drama. Leo Carrillo stars. (Jan.)
GUILTY HANDS— M-G-M.— That Lionel Barry-
more — how he can act! You know he is the murderer,
but will they discover his guilt? You'd better find
out. (Sept.)
HARD HO.MBRE, THE— Allied.— For kids and
grown-ups. A novel Western with Hoot Gibson and
Lina Basquette. (Oct.)
HEARTBREAK— Fox.— This has a war back-
ground but it's really a sweet love story. Madge
Evans (what an actress!) takes honors from Charlie
Farrell, a good actor, too. (Dec.)
HEAVEN ON EARTH— Universal.— Recom-
mended only for Lew Ayres fans. (Not. >
• HELL DIVERS— M-G-M.— Wallace Beery.
Clark Gable and the United States Naval Air
Forces turn out a picture of peacetime aviation you
won't forget. (Jan.)
HER MAJESTY LOVE— First National— Mar-
ilyn Miller, as a beautiful barmaid, tosses off songs
between every glass of beer. This is light, but pleas-
antly entertaining. (Jan.)
HIS WOMAN — Paramount. — Gary Cooper and
Claudette Colbert try hard but a baby steals the
picture with its lusty bawling. Claudette plays a
tarnished lady. (Jan.)
HOMICIDE SQUAD — Universal.
another gangster picture. (Nov.)
Ho-hum,
HONEYMOON LANE— Sono Art.— Not a great
picture, but a delightful one. A nice romance be-
tween Eddie Dowling (who sings) and June Collyer.
And that swell comic, Ray Dooley. (Sept.)
HONOR OF THE FAMILY— First National.—
Nothing left of the Balzac story but the title. Bebe
Daniels is a hot-cha-cha adventuress heroine. (Not.)
HOUSE DIVIDED, A— Universal.— Life in the
raw with Walter Huston as a hard-boiled sea captain
whose wife falls in love with his son. Huston is grand.
(Jan.)
• HUCKLEBERRY FINN — Paramount. —
This sequel to "Tom Sawyer" will cure the
blues. Jackie Coogan and Junior Durkin take you
back to old swimmin' hole days. (Oct.)
HURRICANE HORSEMEN. THE— Willis Kent
Prod. — A fast moving thriller, with plenty of Spanish
atmosphere. Lane Chandler has the stuff. (Dec.)
Ill SBAND'S HOLIDAY — Paramount.— Clive
Brook vacillates between wife and seductive siren.
Amusing enough. (Feb.)
I LIKE YOUR NERVE — First National-
Douglas Fairbanks, Jr., acts just like his father did
in "The Americano.'' He does it well, too. The
story is weak. (Sept.)
IMMORTAL VAGABOND, THE— UFA— A
tedious Tyrolean story without a single yodel. Nice
scenery, good acting, English dialogue. (Oct.)
IN LINE OF DUTY — Monogram Prod.— The
Northwest Mounted Police get their man again. This
time it's Noah Beery. Sue Carol is the girl. (Dec.)
IS THERE JUSTICE?— Thrill-O-Drama— In
spite of a good cast this yarn about attorneys, crooks
and newspaper reporters just isn't there.
• JUVENILE COURT— Ziedman Prod.— Have
yourself a good cry' over this excellent and
pathetic story. Junior Durkin and Pat O'Brien are
splendid. (Feb.)
• LADIES OF THE BIG HOUSE— Para-
mount.— An emotional story about women
prisoners, with some terrific scenes you'll never forget.
Sylvia Sidney does her best work. (Feb.)
• LADIES OF THE JURY— Radio Pictures —
This movie is one of the big laugh-makers <••
film history. And Edna May Oliver — but you know
how swell she is! Take the children. (Feb.)
LASCA OF THE RIO GRANDE— Universal.—
Just another Western — but this one is South of the
Rio Grande. Fair entertainment with Johnny Mack
Brown, Leo Carillo and Dorothy Burgess. (Sept.)
LAST FLIGHT, THE— First National.— Gay
aviators in Paris make the first half grand, but the
somber part is not so good. Richard Bartln '
work is overshadowed by the others in the cast. (Oct.)
LAW OF THE TONGS— Willis Kent Prod— A
Chinaman is the gentle hero in this melodrama.
You'll shed a tear or two over his.death. (Feb.)
LEFTOVER LADIES — Tiffany Prod— Divorcees
talk a lot about careers and freedom in dreary
dialogue. Claudia Dell, in a brunette wig. is good.
(Dec.)
• LOCAL BOY MAKES GOOD— First Na-
tional.— Joe E. Brown is funnier than he's ever
been, in this story of a college grind with inhibitions
and botanical aspirations. (Dec.)
LOVE STORM, THE— British International —
Three men and one woman are exiled to a lighthouse.
Even a murder doesn't speed things up. Dreary fare.
(Dec.)
MAGNIFICENT LIE, THE— Paramount.— Not
up to the standard of most Ruth Chatterton films. But
there's a new young man named Ralph Bellamy
who is particularly good. (Sept.)
MAKER OF MEN— Columbia.— A football
coach is the hero of this appealing, if slightly slow-
moving storv. Good work by Richard Cromwell and
Jack Holt. (Feb.)
MANHATTAN PARADE— Warners— Broadw a v
gets a chance to see itself satirized. Laughs by the
vaudeville team of Dale and Smith, helped by Win-
nie Lightner and Charles Butterworth. Technicolor.
(Feb.)
[ PLEASE TURN TO PAGE 14 ]
Photoplays Revie
Save this magazine — refer to the criticis
Page
Arsene Lupin — M-G-M 48
Cain — Talking Picture Epics 107
Charlie Chan's Chance — Fox 51
wed in the Shad
ms before you pic\ out your evening's
P
Man I Killed. The — Paramount
Man Who Played God, The — Warners.
Michael and Mary — Universal-Gains-
borough
Murders in the Rue Morgue — Uni-
versal
Night Beat — Action Pictures. .
No One Man — Paramount
Panama Flo— RKO-Pathe
Prestige— RKO-Pathe
Silent Witness, The — Fox
OW
enteri
age
49
50
107
49
108
51
51
50
50
T Stage This Issue
ainment. Ma\e this your reference list.
Page
Skv Devils — United Artists 51
Stepping Sisters — Fox 108
Sunset Trail, The — Tiffany Prod 107
Tex Takes a Holiday — Argosy Prod ... 108
This Reckless Age — Paramount 51
Tomorrow and Tomorrow — Paramount 51
Two Kinds of Women — Paramount. . . 50
Two Souls — Cicero Prod 108
U. S. C.-Xotre Dame Football Game —
Sono Art-World Wide 108
Dance Team — Fox 4(>
File 11.?— Allied Pictures 108
Forgotten Women — Monogram 108
Freaks— M-G-M 50
Hatchet Man, The— First National. 48
High Pressure — Warners 50
Local Had Man, The — Allied Pictures 107
Lovers Courageous — M-G-M 48
/.;
Photoplay Magazine for March, 1932
Qmrl Laemm,
Grimmer than that grim picture, "DRACULA," more gruesome
and awe-inspiring than "FRANKENSTEIN," EDGAR ALLAN
POE'S remarkable mystery story "MURDERS IN THE RUE
MORGUE," laid in the dark caverns of Paris, will thrill you to
your finger-tips. Beautifully enacted by
BELA LUGOSI and SIDNEY FOX
The Original "DRACULA" Star of "STRICTLY DISHONORABLE"
Directed by ROBERT FLOREY
UNIVERSAL PICTURES
UNIVERSAL PICTURES CORPORATION CARL LAEMMLE, President 730 FIFTH AVENUE, NEW YORK CITY
14
Photoplay Magazine for March, 1932
T
presented by TIFFANY PICTURES
Brief Reviews of Current Pictures
CONTINUED FROM PAGE 12 I
mark thepassing
of a famous old
hotel —
A DRAMA OF
ROMANCE,
MYSTERY AND
TRAGEDY
featuring
PEGGY
SHANNON
THEODORE VON ELTZ
ALAN MOWBRAY
A Sam Bischoff
Production
A FAMOUS hotel is about to close
. its doors. A vast and weird
assemblage celebrates its passing,
and stark drama whirls through
rooms and corridors. Ghosts of a
glamorous past fill every nook
and corner — and, in room 705, a
ghastly plot
unfolds which
fairly makes
your blood run
cold — a boiling
pot of sinister
emotions.
Dirn-trH by
CHRISTY CABANNE
Owned and Produced by
QUADRUPLE PICTURES, Inc., Ltd.
*M VI \ HARI— M-G-M. — Garbo and N'ovarro
arc co-starred in a glittering story of thi
romantic of all wai ,nd supporting cast in-
cludes Lionel Banymore and Lewis Stone. (.Feb.)
MEN ARE LIKE THAT— Columbia. — (Also
Bhown under the title ol "Arizona.") Laura La Plante
and John Wayne rind life and love at an army
post. (Oct.)
MEN IN HER LIFE— Columbia.— The dialogue
crackles, but the old story creaks. All about a rich
girl in Europe and a rough and ready American. Lois
Moran and Charles Bickford both good. (Jan.)
MEN OF CHANCE— Radio Pictures.— The old
Btory of the woes of a gambler's wife, well acted by
Kicardo Cortes and Mary Astor. (Feb.)
MEN OF THE SKY— First National.— Yep, it's
an aviation war story — but it's pretty flimsy stuff.
Irene Delroy and Jack Whiting. (Sept.)
• MERELY MARY ANN— Fox.— Take your
hankie to this one, but be sure to go. Not
since "7th Heaven" have Charlie Farrell and Janet
Gaynor been so whimsical and idyllic. (Sept.)
MERRY WIVES OF VIENNA. THE— Super
Film. — Even if you no speak Deutsch, you'll enjoy
this. Rippling waltzes and sparkling gayety make
this foreign film worthwhile. (Sept.)
MONKEY BUSINESS — Paramount. — Messrs.
Marx, Marx, Marx & Marx in another outbreak of
assorted lunacy. No beginning, no end — just gor-
geous nonsense. (Oct.)
MORALS FOR WOMEN— Tiffany Prod.— This
"it's the woman who pays" yarn takes a couple of new
routes and brings back trouper Bessie Love. (Jan.)
MOTHER AND SON — Monogram Prod. —
Another Reno story, with Clara Kimball Young as
Faro Lil. (Oct.)
MURDER AT MIDNIGHT— Tiffany Prod.—
Yep, it's a mystery story and a swell one! Alice
White, in a small part, has a sex-appeal voice. (Oct.)
MURDER BY THE CLOCK— Paramount.—
With such a cast, headed by Lilyan Tashman, this
should have been swell. But alas! and alack! this
gruesome, murder story is nothing but gruesome.
(Sept.)
MY SIN— Paramount.— Tallulah Bankhead and
Fredric March in one of those "should a woman tell
her past?" things. (Not.)
MYSTERY OF LIFE, THE— Classic— Clarence
Darrow and a Smith College zoology professor ex-
plain evolution. Uh-huh, it's as dull as it sounds.
(Sept.)
MYSTERY TRAIN, THE— Darmour Prod.— Old
school mystery melodrama with plenty of sure-fire
hokum and suspense. [Not.)
NECK AND NECK— Thrill-O-Drama.— Only
Stepin Fetchit's funny face and voice save this dull
race-track story from a complete case of the dol-
drums. (Jan.)
• NEW ADVENTURES OF GET-RICH-
QUICK WALLINGFORD, THE— M-G-M.—
And they said William Haines was slipping! See this
knock-out comedy with Billy and the coming big
shot. Jimmy Durante, to be convinced they're
wrong. (Nov.)
NIGHT RAID (UN SOIR DE RAFLE)— Osso
Prod. — A lively French film about a prize-fighter, his
real sweetheart and a siren. Amusing. (Dec.)
OLD SONG, THE (Das Alte Lied)— Austrian
Cinderella. Lil Dagover brightens it considerably.
German dialogue. (Nov.)
ONCE A LADY — Paramount. — Charming sim-
plicity and Ruth Chattcrton's acting tedeem a not too
original story. (Dec.)
ONE WAY TRAIL. THE— Columbia— The Kids
will love these exciting adventures of handsome Tim
McCoy. (Dec.)
OPERA BALL — Greenbaum-Emelka Prod. —
English lines flashed on the screen make it possible
for you to enioy this sprightly German production of
Viennese night life. (Jan.)
• OVER THE HILL— Fox— Mae Marsh's
Bcreen return as the self-sacrificing mother un-
wanted by her children. Jimmie Dunn and Sally
Eilers. too. {Jan.)
PAGAN LADY"— Columbia.— The SadieThomptcn
theme in a new dress, with Evelyn Brent wearing it
becomingly. (Xov.)
• PALMY DAYS— United Artists.— A typical
Eddie Cantor-and-nonsense show that should
bring film musicals back. (Oct.)
PARDON US— Hal Roach— M-G-M— Laurel and
Hardy in a lot of hokum. Funny. (Oct.)
PARISIAN, THE— Capital Prod.— This attempt
at a smart story made in England with Adolphe '
Menjou and Elissa Landi proves that these glamour
kids get that way in Hollywood. (Nov.)
PEACH O' RENO— RadioPictures— Bert W
and Robert Woolscy in an absurd plot concoction of
Reno s divorce colony. Short on romance but long on
laughs. (Jan.)
PENROD AND SAM— First National.— If you
haven't forgotten how it feels to be a kid you'll love
Leon Janney and Junior Coghlan in this. (Nov.)
PERSONAL MAID — Paramount.— Nancy Car-
roll gets all mixed up in a namby-pamby plot. (.Nov.]
• PLATI SUM BLONDE— Columbia.— Youth
and beauty, comedy and drama — and Jean
Harlow. A well done newspaper yarn. See it. (Dec.)
POCATELLO KID, THE— Tiffany Prod— Ken
Maynard in another Wild Western setting; Marceline
Day, the lady in distress. (Feb.)
• POLITICS — M-G-M. — Polly Moran and
Marie Dressier start you off with a giggle and
you'll laugh all the way through the picture. Don't
miss these two attempting to clean up the town.
(Sept.)
• POSSESSED — M-G-M— What a pair Joan
Crawford and Clark Gable make in a picture
that has plenty of action, sophistication, and gorgeous
clothes. (Jan.)
• PRIVATE LI VES— M-G-M— Norma Shearer
and Bob Montgomery do good team work in
this farce made amusing by priceless, if risque, lines.
You one hundred per cent sophisticates will have
yourselves a fling. (Feb.)
PRIVATE SCANDAL, A — Headline Prod.—
Another underworld story in which the crook re-
forms. (Oct.)
PUBLIC DEFENDER. THE— Radio Pictures.
■ — After "Cimarron" you expect too much of Richard
Dix. That's why this story of a man who brings a
gang of crooks to justice is disappointing. (Sept.)
RACING YOUTH— Universal.— If you aren't too
critical, you'll enjoy this story of automobile road
racing with Frank Albertson, June Clyde and Louise
Fazenda. (Jan.)
RAINBOW TRAIL.— Fox. — George O'Brien tries
to make a weak Western come to life. (Feb.)
RANGE FEUD, THE— Columbia.— Buck Jones
may be your favorite Western star but you'll twiddle
your thumbs at this banal old story'- (Dec.)
RANGE LAW— Tiffany Prod.— This Western
taxes the credulity but Ken Maynard does some slick
riding. (Jan.)
RECKLESS LIVINC- — Universal.— An entertain-
ing little picture. (Nov.)
RICH MAN'S FOLLY— Paramount.— One of
those stark dramas in which George Bancroft as an
ambitious shipbuilder wrings sympathy out of an un-
sympathetic role. (Jan.)
RIDERS OF THE PURPLE SAGE— Fox —A
grand Western with fast action, grand Arizona
scenery and marvelous production. George O'Brien
and Marguerite Churchill excellent. (Dec.)
ROAD TO RENO, THE— Paramount— Divorce,
murder, suicide and an important cast fail to make
this anything but a picture that just doesn't jell. (.Vol.)
ROAD TO SINGAPORE. THE— Warners— Bill
Powell and Doris Kenyon — splendid in a tropical
drama of tangled loves and desires. (Oct.)
SAFE IN HELL— First National.— The only re
deeming thing about this sordid story of a shady lady-
is the work of Dorothy Mackaill, who deserves better
stuff. (Jan.)
SALVATION NELL— Tiffany-Cruze.— Religion
and sentiment are pretty obvious in this out-of-date
story, but Helen Chandler and Ralph Graves make
you believe every word of it. (Sept.)
SEA GHOST, THE— Imperial Prod— Laura La
Plante wasted on this cheap, ridiculous story. (ATor.)
• SECRET CALL. THE— Paramount.— Peggy
Shannon, who pinch-hits for Clara Bow in
this one. scores a solid hit. It's a political story' with
love interest. Dick Arlen excellent. (Sept.)
[ PLEASE TURN TO PAGE 117 ]
Photoplay Magazine for March, 1932 IC
HOWARD HUGHES
/F^ Supreme
Entertainment
SPENCER TRACY
WILLIAM BOYD
ANN DVORAK
GEORGE COOPER
EDWARD
SUTHERLAND
*7)ro4/ucfiojr
UNITED ARTISTS
PICTURE
^3EW/flfc
PRODUCED B-V HOWARD HUGH
lake 1 h
B
Oh, that flashing smile
of Lupe Velez — how it
is envied !
AS you read this page I am in
Hollywood preparing a sur-
prise for every reader of
Photoplay who is interested
in personal improvement and beauty.
You will be simply delighted when
you look through your April issue of
this magazine because you are going
to find therein the most complete and
helpful beauty department ever printed
in any magazine. I am right now out
here in Hollywood gathering for you
all the beauty secrets of all the stars,
and what I have already learned sur-
prises even I who thought I knew a
lot about them.
Going to the movies is one of the
most stimulating beauty treatments
I know! Why, you ask? Because
I rarely ever see a glamorous looking
star that a certain amount of dissatis-
faction with myself is not created.
I find that I go home, wondering
why my figure isn't as svelte, as say,
Constance Bennett's. Or why my eyes
aren't as expressive as Joan Craw-
ford's. And after I have wondered
long enough, I find that I have a new
stimulus to take those exercises that
had been boring me. And I find that
perhaps I could find a little more time
each day for the special care of my
tired looking eyes.
Sylvia is right. It is only laziness
that keeps us from being the charming
looking creatures we want to be and
ought to be. It is that extra half hour
that could be spent in a little self-
beauty culture that we never seem to
find in our day's whirl. It is the seem-
ingly tiresome little things that we
shirk which would bring us the most
benefit.
FROM your letters I find that most
of you consider beauty such as you
see reflected on the screen, quite unat-
tainable. An extra pound about the
hips bars you from the Constance
Bennett class. The lack of a flawless
skin ruins all hope for a natural looking
beauty like that of Madge Evans or
Dorothy Jordan.
Let's see what you envy most in
some of your favorites. And then see
how a few simple beauty tips will put
16
ese JDeauty 1 ip
Ti
To Gain What You
Envy in the Stars
The slim princess, or should I say
Marquise? To be as slender as
Constance Bennett is the secret
desire of half the feminine world
Friendly Advice on
GIRLS' PROBLEMS
I can not answer letters which do not
enclose a stamped, self-addressed en-
velope, so don't forget it when requesting
booklets or personal advice.
I will gladlv answer questions on per-
sonal problems about hair, correct colors
for four type and shades in make-up.
Ask for my booklet of normaliring exer-
cises and non-fattening menus. My com-
plexion leaflet gives general advice on the
care of the skin with specific treatment for
blackheads and acne.
Address Carolyn Van Wvck at PHOTO-
PLAY, 221 West 57th Street, New York
City.
ft*
Madge Evans* natural,
unaffected beauty
draws envious sighs
you on the right track toward attain-
ing what you want!
Now there was a girl who wrote to
me bewailing her teeth. They were
regular but they didn't sparkle like
those of Lupe Yelez!
I know that it seems unbelievable
that in this day of wonderful mouth
washes, dentifrices and brushes, that
teeth should not be actual pearls. Yet
yellowness is a common complaint.
Did you know that exercise is im-
portant to teeth health? It is. You
should chew systematically and eat
foods that really give your teeth a
workout. Fibrous foods, hard foods
are what your teeth need daily. Brush
your gums as well as your teeth. And
have several tooth brushes so that one
can be sterilized while the other is in*
use.
SUCH simple precepts, but they do
wonders for the beauty of your
smile!
I listened to a lecture by an eminent
physician recently. His interest at the
moment is directed toward laboratory
research in behalf of beauty. He de-
fined beauty as
"Perfection resulting from a
harmonious combination of ele-
MENTS."
Isn't that an intelligent definition?
Thus, you see, in order to gain per-
fection, you simply must harmonize
all the elements of your own body.
One of Joan Crawford's most strik-
ing features is her eyes. They are
large, lustrous and tremendously ex-
pressive. And her figure is reputed to
be one of the loveliest in Hollywood.
Yet Joan started out in the movies
weighing on the heavy side. She has
worked hard to keep that slimness she
finally attained. She believes that you
must look at yourself with the eyes of
a critic.
You can't hope to have eyes like
Joan's unless you give them daily at-
tention. An eye wash should be a
morning rite. There are dozens of
good ones on the market. Or you can
use a home-made remedy of soothing
boric acid solution. Pads of cotton,
dipped [ please turn to page 100 ]
Photoplay Magazine for March, 1932
'7
How To Create Fascinating Beauty
WITH HOLLYWOOD'S
li JT MAGIC SECRET of
JfAKE-UP
Sydney Fox, Universal
star, in "Strictly Dishonor-
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Hollywood's Make-Up Gen-
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Genevieve Tobin, Universal star in "Seed"
says: liOne must be careful to avoid off-color
make-up, and that is nvhy I prefer my oivn col-
or harmony in 'Society Make-Up* exclusively. "
LNY girl can be more attractive with
this new make-up discovery... created
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Whatever your type . . .blonde, brunette,
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dividualized color harmony in Society
1 Make-Updoubles beauty. Be likea screen
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IN Hollywood, we have iound that make-
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harmony in powder, rouge, lipstick and eye-
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We proved that off-colors in powder or
rouge or lipstick mar beauty; cause complex-
1 ion colorings to appear spotty, "loud" and
even grotesque.
Under blazing motion picture lights the
faults of haphazard make-up were quickly visi-
ble. Unseen clashes in color or faulty texture
were picked up by the searching camera lens.
Thus, through this unique experience in
such a trying testing laboratory, with beauty
worth millions at stake, Max Factor, Holly-
wood's genius of make-up, created anew kind
of make-up, based on his discovery of cosmetic
color harmony. 96% of Hollywood's stars use
Max Factor's, and in every picture released
from Hollywood you see its magic beauty
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Do you know how uncomplimen-
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J 931 Ma* Factor |__
i8
Photoplay Magazine for March, 1932
REDU
Lowers Resistanc
vites Disease
PLAY SAFE
GARGLE
TWICE A DAY
Kills Germs on Contact., Reduces Colds 66%
AS the poundage goes down, so usual -
x\_ ly does the body's resistance to
disease. But now women have found
a pleasant way to aid them in keeping
well during periods of systematic ex-
ercise and rigid diet.
It is the twice-a-day gargle with full
strength Listerine — recommended by
physical instructors and physicians.
Exercise and diet all too frequently
lower vitality so that germs multiply
more rapidly. Disease takes hold quick-
ly. Dieters are easy prey to serious
colds and more dangerous infections.
Used as a gargle, full strength Lis-
terine helps Nature to overthrow germ
invaders. It kills germs in the fastest
time possible to measure scientificallv.
Reduces bacteria in the mouth 98%
and maintains substantial reduction
for hours.
Listerine's value as an aid in pre-
venting and treating colds is not a
matter of opinion but of fact. Tests on
204 persons in normal health revealed
this astonishing truth: That those tvho
gargled uith Listerine twice a day had
from 50% to 66% fewer colds than those
tvho did not gargle uith Listerine.
When Listerine users did contract
colds they were oidy one-fourth as
severe and lasted one-third as long.
Such results are clear proof of the
benefits of Listerine's germicidal action.
That Listerine is, at the same time,
non-poisonous, safe to use, and actually
healing in its effect on tissue recom-
mend its use over ordinary antiseptics
so harsh they may damage tissue.
Get in the habit of using Listerine
every morning and every night
whether you are dieting or not. It is
your protection against infection and
your certain assurance that you are
free of halitosis (had breath). Listerine
is the swiftest of deodorants — instantly
conquers odors that ordinary mouth
washes cannot hide in 4 days. Always
keep Listerine handy in home and
office. Lamhert Phannacal Company,
St. Louis, Mo., U. S. A.
Otto Dyar
OUR lowest Chesterfieldian bow and our wildest applause goes
to Fredric March for his amazing and spectacular work in
"Dr. Jekyll and Mr. Hyde." That picture puts him right up in
the very first line of actors, either stage or screen, marching be-
tween Lionel Barrymore and George Arliss
Elmer Fryer
JOAN BLONDELL has been charged with grand larceny at
least half a dozen times since she reached Hollywood. She is the
most consistent picture stealer in the colony. When Joan is in the
scene every other player, even the star, works frantically to hold
on. She's a bundle of dynamite — that girl
THEY billed her as a Lillian Gish type when she crashed the
movies a few years ago. But the photographer of this new
picture evidently forgot that now they are casting Helen Twelve
trees in tough parts that would give sweet Lillian the heebee
jeebees. You'll be seeing Helen next in "Panama Flo"
Ferenc
PNICKIE MOORE is mad as mad can be. The director wanted
-L'him to cry and said if Dickie didn't he was going to get
another boy to play the part in "Slice of Life." "Let him get Jackie
Cooper for all I care,"mused Dickie." What's the use of Christmas
presents if you never get time to play with them?"
ALK
/x e o u
YO LJ
Of course, you're invited everywhere,
or almost . . . anyway. You're one of
those popular girls seen at the brightest
parties; your heaviest problems are
usually such jolly decisions as : " Shall
I go dinner 'dancing with George; or
watch the hockey match with Jim?"
A man feels really thrilled to take you
out, and other girls envy ... or wonder.
But, if they're really clever, they'll
investigate. And it's pretty certain that
they will discover some of your secrets.
You're careful about choosing the right
clothes, of course, but you take even
better care when it comes to choosing
cosmetics . . . face powder, in particular.
Girls who'd li\e to be more popular
will find, if they snoop about a bit, that
many perfect complexions depend on
Coty Face Powder. For, though a man
hates you to look powdery, he thinks
a shiny -faced girl even worse. Coty
Face Powder saves its users from these
two facial blunders. Subtly smart as
all creations in the French spirit — it
brings your face the loveliest fragrance
— you'll adore it yourself and its heart'
twisty effect on men is likely to prove
a sensation. Twelve tones, for powder
invisibility; various precious odeurs, $i.
^/rlLss JHartka ( pjaskinqton
jj
— IN SKINNER'S CREPE SATIN
Marian Stehlik
THE Martha Washington theme — fashion head-
liner for the Bicentennial year!
Skinner's Crepe Satin — supreme among fabrics.
They are here united in a widely-heralded
gown — a modern adaptation of the inaugural
dress of the wife of our first President.
Marian Stehlik, of New York, fashion creator
for the Silk Show of National Silk Industry Week,
designed it as a forerunner of 1932 styles.
Grace McCoy, chosen for the role of "Miss
Martha Washington," is here pictured wearing
it. From scores of candidates, she was selected
by a committee of judges including McClelland
Barclay, artist, Prince Georges Matchabelli, per-
fumery expert, and Moses Dykaar, sculptor, to
feature the dress at the Silk exposition.
"When asked to create this Martha Washington
gown, I visualized a combination of the modern
molded silhouette with the flattering bodice of
the eighteenth century," said Marian Stehlik. "A
material of soft, clinging quality which would
lend itself perfectly to long flowing lines was
needed. My choice was an egg shell shade of
Skinner's Crepe Satin."
WILLIAM SKINNER A SONS — f stab. 1 848
New York Chicago Boston Philadelphia Los Angeles
Mills: Holyoke. Mass.
Skinner's
Silks
LOOK FOR THE NAME IN THE SELVAGE'
MARCH, 1932
Close-Ups and Long-Shots
By
James R. Quirk
MY personal nomination for the
most versatile and capable young-
leading man in pictures — seconded
by the charming blonde with whom I hold
hands in picture theaters — is Fredric
March. And this goes for those billed as
stars of first magnitude. No player in pic-
tures or on the stage could surpass his per-
formance in "Dr. Jekyll and Mr. Hyde."
Any man who can handle this heavily dramatic
role with such finesse, and also put over an entirely
different personality, such as he did as the rollicking
brother of "The Royal Family," is a first-class all
around, journeyman actor.
Incidentally, he's a great guy off screen and con-
fines his acting to his professional work.
v
N the first flush of her romantic mar-
riage to the Marquis Henri de la Falaise,
Gloria announced that she wanted lots and
lots of children — oh, perhaps seven or
eight.
Well, the stork was never even suspected
of flying over Gloria's home until Henri
had gone bye-bye and Gloria married
Michael Farmer. Then, before you could
say "Tonight Or Never," came the news that she
was knitting little things.
Now Constance Bennett, just married to the
marquis, is quoted as saying site is interested in home
and babies.
And a few days later she adopted a three-year
old boy.
AND while I am all steamed up about my picture
pets I can't get away from this typewriter with-
out expressing my admiration for Miriam Hopkins.
Of all the luscious wenches that ever threw a sin-
ful shadow on the screen, I recommend her to you in
"Dr. Jeykll, Etc." Please, Mr. Paramount, don't
make her a good woman. Let us have one siren who
can wreck a man with a laugh. Some of us are so
tired of those glowering vampires that lead men astray
by wrinkling their foreheads. We need a new
technique in masculine annihilation once in a while.
EDITORS, like human beings, sometimes have
emotions. As the copy for "Screen Memories
From Photoplay," on page 116, passed over my
desk this month it left me feeling as blue as my
editorial pencil. Tragedy and happiness, hope and
disillusion, paradise gained and lost, life and death.
With one or two exceptions I have known them
all. And only this morning as I brushed my hair I
found silver threads among the gold.
WHEN you read all this ballyhoo about tele-
vision being "just around the corner" don't
rush right out and load yourself up with television
stock.
It may be around the corner, but the corner is
somewhere over in the next count v.
TWO feminine members of the Photoplay editorial
staff disappeared for a whole day recently. They
showed up next day in my office with a "well-what-
do-you-think-of-me-now" grin on their altered and
beauty-parlored faces, and with brand new
coiffures.
I hadn't the heart to chide them for their truancy.
The day before Carolyn Van Wyck, the magazine's
beauty editor, had sent in from Hollywood such a
bewildering package of beauty tricks for next month's
issue they just had to go and try them out.
Thousands of young husbands will be politely
cursing Photoplay when they come home and find
dinner late.
25
EXCERPTS from ;t hysterical advertisement in a
mot ioil |)icl urc trade journal:
"(iriffith! . . . sends roaring across the screen
this devastating story . . . personally directed
. . . 'The Struggle.9 . . . This picture is box-
office! . . . overwhelming in its timeliness! . . .
tremendous as entertainment! . . . Skelly! This
one picture will scud him zooming to stardom,
just as Griffith's previous triumphs sent blazing
to the cinema heavens such illustrious names as
Pickford! Valentino! dish! Barthelmess! . . .
Aye. and a hundred more."
The only thing true about these statements is that
Griffith started Pickford. Gish and Barthelmess. He
did not make Valentino! Rex Ingram and June
Mat his did. Skelly. a grand stage actor, will have a
hard time living that picture down. He deserves a
chance to prove he is not as bad as he was directed.
AFTER that historic United Press dispatch
from Baltimore describing the reception accorded
Lawrence Tibbett, when six women fainted as he
sang his "Cuban Love Song," we wouldn't be sur-
prised at anything. Watch your home town papers
for dispatches like these:
Hollywood. Calif., Feb. 5— (Via a little bird) —
Millie Miff. 10. was serving customers at her father's news-
stand, Ye Olde Beverlyy Hillse Smoke and Paper Shoppe, here
this afternoon.
She heard a guttural voice at her side.
"Giff me. bleese." it said, "a goppy of dis afternoon's Hjolly-
wood Sjentinel-Tjimes!"
Looking up, Millie saw that t lie inquiring patron was Greta
Garbo.
Sixteen-year old Millie dropped dead.
Waukesha, Wis., Feb. 8 — (By hook or crook) — Little Fannie
Smosh, six, has now been crying for 147 consecutive hours.
Her case has utterly baffled the efforts of local doctors, as well
as a couple of Chicago specialists rushed here by dog-sled.
Nothing hurts her, Bay physicians, and no pins are -ticking her.
She spurns all offers of dollies, candy, ice-cream, pie, cigarettes,
toys, cocktails, motorcycles and little baby sisters.
"I declare," Mrs. Smosh, the worried mother, told reporters
today, "I can't think what's got into the child!"
The only clue to little Fannie's mysterious malady is that she
lies over and over, between sobs, "I want Jackie Cooper!
I want Jackie Cooper!"
( nil \(,o, III., Feb. 9 — (By cracky)— The Bijou Dream Theater,
neighborhood movie house here. wa-. a mass of trembling ruins
today. Police threw a cordon as far u- they could about the
wrecked building today.
Last night, during the showing of Joan Crawford's latest picture,
"Possessed." dozens of male patrons began shouting "Darling!",
"Joan, I luff you!", "My sweetheart!" and "Oh baby!"
The climax came with the display of a close-up of the beautiful
Mi" Crawford. At this point a mob of some 500, mostly men,
rushed to the stage and tried to kiss the screen.
"If I have ever another theayter," Manager I. C. Kornblatt said
sadly today, "I shall show nothing but 'Our Gang Comedies' and
'Mickey Mouse'."
New York City, Feb. 11 — (By no means) — Mr. and Mrs.
Frank X. Ilootle were walking up Broadway this evening, looking
at the electric signs.
A handsome, well-dressed man approached the couple.
"Ooh, Frank!" screamed Mrs. Hootle, clutching her husband's
arm and almost falling senseless to the pavement, "there's Clark
Gable!"
"Nuts!" Mr. Hootle replied, and socked her on the nose.
IXEVER could understand why the average pro-
ducer looks upon and acts toward studio camera-
men as mechanical appurtenances. With few ex-
ceptions, every director is guided in camera angles,
lighting and visual flow of a picture by his cameraman,
who, if the motion picture is entitled to consideration
as an art, is entitled to consideration as an artist.
Stage directors, who know no more about motion
picture technique than dentists, come to Hollywood,
get credit for directing good pictures when as a matter
of fact, they are as helpless as children in a kinder-
garten without the advice and cooperation of the
cameraman.
"Lady, could
you please spare
a dime for a
former movie
star?"
(j^U^yyp^^
26
jVTARION DAVIES gave a kiddie party and among the Holly-
wood children who came to eat ice cream and cake, all dressed
up in their party clothes, were little Joan Crawford and Connie
Bennett. Shame on you, Joan, for bringing your hoop to a party.
Put it right outside the door or you won't get a single drop of gin
i
27
Ho
W
b
aroo s
ear
By
Katherine
Albert
The triumphantly smiling man in the circle is a
Chicago reporter who interviewed Garbo as she
changed trains on her way home. But about all
he got out of her was, "Don't annoy me"
GRETA GARBO has a bad case of agoraphobia.
What is more she suffers acutely from anthropophobia.
But don"t be alarmed. None of these high-sounding
ailments w ill take her off — unless it is to Sweden. Those
goofy words are simply what any first class psychoanalyst calls
plain old-fashioned " fear of people." You may have it and simply
think yourself self-conscious.
Agoraphobia means fear of crowds. While anthropophobia is
fear of society. You must use high-flown words about Garbo.
Let us consider her recent sensational visit to New York.
Several days before the story of her incognito trip broke in the
papers, Harry Hershfield, the famous columnist and cartoonist
(you all know his Abie Kabibble) was wandering around the
Metropolitan Museum. He is well-known there since he, himself,
is an art collector. One of the guards called him aside and said,
''That tall woman in the tweed coat is the movie actress, Greta
Garbo."
Hershfield took a good look. It was Garbo. He went up to
her, introduced himself and said a few words in praise of her work.
She was most sweet and cordial, but she put her finger to her
lips and said, "Yes, I'm Garbo, but don*t giff me away."
A few days later the news got out and the St. Moritz Hotel,
where she was stopping under the name of Gussie Berger, looked
like a reporters' convention. You all know about her long-legged
jaunts through Central Park, Walter Winchell's account of his
meeting with her in the hotel elevator, the remark about the
gentlemen of the press being no gentlemen accredited to her, her
little excursions to New York's best speakeasies with Director
Berthold Yiertel and later Ramon Novarro.
Why, New York went wild and so did all the reporters. They
were furious with her for her attitude of silence (a thing that the
Hollywood press has long ago accepted).
One man cashed in on her presence. In Central Park he set up a
telescope (a battered old telescope, where for a dime you could
see Orion and Ursa Major on a moonless night) and charged a
quarter for a peep at that greatest of all stars, Garbo. But it
wasn't Garbo. The telescope commanded a view of a St. Moritz
room. In the room one of the innumerable Garbo doubles walked
back and forth in front of the windows. For a quarter and a
squinted eye the suckers could see her.
Then came word that Garbo had not been in town at all. It
was strange that just after all the excitement, that just after every
28
eople Started
The order "Bring back a picture of Garbo
or don't come back yourself," forced the
newspaper photographers to do every-
thing but hide under her bed. One in-
vaded the beauty parlor where she was
having a shampoo, but this is all he got
columnist in town had literally turned over his space to
Garbo anecdotes, her picture " Mata Hari " opened. Was it
a publicity stunt? Had the mysterious Swede been lan-
guishing in her Brentwood Heights home all the time, and
had M-G-M simply evolved this giant press-agent ruse?
If she really wanted quiet why did she go to the St. Moritz
Hotel, the haunt of stars, instead of to one of the smaller,
less publicized houses?
Garbo was in New York — there's no doubt about that.
A lot of fancy was built up about her visit and much of
the saga concerning it was untrue, but she was in Man-
hattan and she was at the St. Moritz, and she does fear
(and hate) people. Her fear was once a vital and a devas-
tating thing.
SHE is the psychological Case D, the pet of all the
analysts. And anyone with only the vaguest working
knowledge of psychology can trace the simple steps that
gave her the phobia of which she is a victim.
It has been said thousands of times that Garbo was un-
happy in Hollywood because she knew nothing of American
ways and language, and could not understand. But
dozens of foreigners have come to our shores and have not
acquired sudden complexes, complexes that lasted for
years and years. It is true that people laughed at her
when she first came over, but her phobias, her self-con-
sciousness started long before that, and for a psychological
reason that is as simple as all great truths.
Her height was the beginning of her self-consciousness.
Any girl who has, at twelve or thirteen, suddenly begun
to grow tall, knows the experience. She towers head and
shoulders above the other girls of her own age. She sees
sprightly, precocious youngsters, their little pleated skirts
just missing their chubby [ please turn to page 103 ]
Every time Garbo
tried to take a quiet
walk in Central
Park she was
dogged by reporters
and cameramen
What Really Happened
To
ogers
a
Br
Lie
Car
OTHER boys have come to
Hollywood at the age of
twenty and have matured
gracefully in the goldfish
bowl supplied by their cinematic
peers. Charles Rogers, however,
came as "Buddy" and Buddy, at
best, is a patronizing nickname. It
keeps a boy in short trousers unless
he compels respect by virtue of a re-
doubtable character.
Buddy helped keep his trousers
short. He bubbled youth, naivete,
eagerness. He dazzled the commu-
nity. The wearily wise and the cau-
tiously wise refused to believe him.
"It 'ain't' true," they marveled.
Buddy was happily unaware of the ripple his Peter Pan char-
acter had created. To him, Hollywood was just another city in
which to be Buddy, the lad used to the affection and approval of
family and friends, to personal popularity.
Paramount had brought him to Hollywood, taking him from
the University of Kansas, where he conducted his own collegiate
band, to New York and the Paramount School of young players.
He had scored in "Fascinating
Youth," and a contract and Holly-
wood was his reward. Jesse Lasky
called him the greatest male screen
find of years.
Hollywood pleased him w it h its
vast yawn of country and its charm
of sunshine. His contract pleased
him. It meant good money and in
tlie years to come he could return to
his first love and his real ambition —
leading a jazz orchestra, achieving,
possibly, the position of a syncopated
Sousa.
BUDDY liked the girls, but he
never aspired to be a heavyweight
with them. His seriousness revolved
in his drums, his saxophone, trombone
and horn. But Buddy also relished a
good time and when invitations from
the film famous climaxed his intro-
duction to these film famous, he ac-
cepted them. To his terror, he dis-
covered the girls he met were not the
gentle souls of Olathe, Kansas, mem-
ories. They smoked cigarettes, and
cigarettes are prohibited in Kansas.
They drank, and drink, too, is pro-
hibited. Worse, they were the at-
tacking sex.
\\ hen they cast appraising eyes
upon his six feet of broad-shouldered
slenderness; when they permitted a
flirtatious gleam to sparkle their eyes;
when they nestled significantly in his
arms as his dance partner — well, sir,
as Buddy might explode with his
very,
He's ga-ga and so
very sweet," they said.
Buddy said he would
show them. And he did
w e I I y n
roll
This is the meek lad who almost let
Hollywood lick him. He was good to
his mother, but a dub in the back seat
of a parked automobile. Some smart
aleck called him, "A Rover Boy in search
of a choir"
favorite expletive, they weren't inter-
ested in his musical instruments and
ambitions. No, sir, they were in-
terested in the stuff that had swept
Sodom and Gomorrah to destruction.
Buddy knew. His parents were de-
vout Methodists and Sunday the
entire family would go to church.
The girls agitated Buddy's peace
of mind. So he ran away from them.
He ran to the sanctity of the home
where he lived with friends, a safe
distance from the sex battlefields of
Hollywood. He sought his fraternity
brothers and their friends and his
musical instruments. He didn't ex-
actly say "No" to the ladies, but he
didn't say "Yes" nor so much as a half-hearted "Maybe."
"Buddy Rogers?" a vivid screen personage tittered. "He's
ga-ga."
"And so sweet," crucified another.
"A Rover Boy in search of a choir," cooed yet another.
In Hollywood lived Claire Windsor, who admits to Cawker
City, Kansas, as her birthplace. Confessing to the same state
as did Buddy may have had some-
thing to do with her conquest of the
"no boy." Being blonde and beauti-
ful and persevering may have had
more to do with her lulling to rest his
fear of proximity. She appropriated
Buddy and he came to rather like the
possessiveness of love. When he
went to San Francisco on location for
a picture, his hotel telephone ran >
frequently during the day and the
night and when he answered the ring
he was rewarded with Claire's caress-
ing voice.
Romance elevated Buddy to the
dignity that prepared Hollywood to
erase the stigma of his being the "no
boy." Then Buddy's mother came
West. Hollywood heard, and de-
duced her appearance on the scene
was to sever the ties of blonde loveli-
ness.
TITILLATING stories bubbled
and skipped. Mrs. Rogers had
had a frank talk with Mi.ss Windsor.
It was said that she had stressed the
discrepancy in the ages of Miss
Windsor and her son. That other
matters affecting Buddy's freedom
were gone into.
Buddy said nothing. Claire con-
fided only to her intimates. Mrs.
Rogers departed. Buddy was again
in short trousers. Hollywood
shrugged. Hollywood has little
patience with apron strings.
[ PLEASE TCRN" TO PAGE 108 ]
JO
Preston Duncan
When Buddy Rogers toots his trombone and other assorted in-
struments the notes sound like one big, booming razzberry for
Hollywood. This is the new Buddy, full of pep and gumption.
No longer the dear boy, he has a fast line and a Follies contract.
Read how he got that way
The scene is the Brown Derby Restaurant, on Vine Street,
Hollywood — a thriving venture in which Mr. Herbert Somborn,
No. 2, is happily interested. The other characters at the meeting
are Mr. Wallace Beery, No. 1, and M. Henri, Marquis de la
Falaise de la Falaise de la Falaise, No. 3. The current Mr.
Swanson, ATo. 4, is enjoying his honeymoon in foreign parts.
The three boy friends arc assembled around a table in the restau-
rant, and getting their share of stares you may be sure. Mr.
Beery is the biggest. Mr. de la etc. is the handsomest, and Mr.
Somborn is very nearly, if not quite, the most prosperous-looking.
MR. BEERY — Well, boys, the club might as well come
to order. As a starter I recommend that Henri, here,
as the newest member, be voted into the chair.
M. Henri — But no! It is only fitting that Mr. Beery, the
senior member, should preside! Name of a name! But yes!
Mr. Somborx — Now, no bickering, fellows! I really think
you rate the chair Wally! After all, you date 'way back to the
Mack Sennett days. So I vote with Hank here.
Mr. Beery — (simpering becomingly, if you can imagine
Mr. Beery simpering at all) — Well, all I can say, men, is thank
you. It is a great honor to preside at the first regular meeting
of the Ex-Mr. Swanson Club. And now I move that we have a
nice filet mignon all round and get down to business.
Mr. Somborn — I'll second that motion — Hank, you don't
even have to vote, as we've got a quorum already. Gus — three
of those special filets, and they should be succulent.
Nervous Old Lady from Midwest — (I almost forgot about
her) — Gracious sakes, Madge, what three fine looking men those
be!
Madge — Sh, Auntie! They all used to be married to Gloria
Swanson!
Nervous Old Lady — Gracious sakes! And they act so
friendly like!
Madge — Ah, they have a Bond!
Mr. Beery — (rapping on his water tumbler with a fork and
causing six jobless extras, working as waiters, to choke on their
boneless sole) — Now, men, let's
get down to brass tacks. What
is the pleasure of the meeting?
M. Henri — I think, mes-
sieurs, we should dispatch the
cablegram to that so gallant
Mique de Farmer — our dis-
tinguished successor. Yes? No?
Que voulez nous? Oui? Non?
Mr. Somborn — Hank, it's a
great idea! I move that our
distinguished president write a cable right here on the table-
cloth— I'll pay the laundry bill with pleasure. Wally, it is the
sense of this meeting that you compose a wire to Mr. Michael
Farmer, No. 4, here and now, and we'll split the toll three wavs.
Right, Hank?
M. Henri — Okay keed.
Mr. Beery — Boys, I take this commission in the spirit in
which it is offered. How about this? Dear Mike comma
congratulations and best wishes for a wonderful honeymoon
period You have undertaken a great and noble career and one
that will demand all your fortitude period We all wish you better
luck than we had period Love and kisses from the Swanson
alumni meeting at the Brown Derby.
MR. SOMBORX-
Mike up all right!
Being a fairly incorrect report
of a meeting of The Boys Who
Used to Be Married to Gloria
-Wally, it's a pip. I bet that will cheer
Oh my goodness, boys — what a woman !
Mr. Beery — You said it, Herb! What a woman!
M. Henri — Eh bienl Quel femmc!
Mr. Somborn — Oh boy, eh?
Mr. Beery — Yes sir — oh boy!
M. Henri — Ma fois! Ohgarcon!
Mr. Beery — Well, it was a great experience, men. Mere
chit of a girl when I up and married her — back in the old
Essanay days, that was. Gosh, it makes me feel old ! The truth
is, I don't remember her very well, but I've seen her in pictures.
Mr. Somborn — Well, Wally. you date pretty far back. She
was a star when I married her, you know. Boy what days
those were in the movies! Why, money lay around loose in
the streets!
M. Henri — (Feeling slightly faint) — Man Dicu!
Mr. Somborn — Fact! You came along pretty late, Hank!
Things around here had slowed up a lot by the time you blew in.
Mr. Beery— (rubbing his hands as the chow arrives)—
Ileigho! Here come the filets. Gentlemen, a toast! We toss off
the first forkful to our mutual wife!
(All stand, with poised forks. The restaurant is largely
agog.)
Mr. Beery — To Gloria!
Me. Somborn — To Gloria,
God bless her!
M. Henri — To that so
handsome, that so charmant
M. Farmer!
Mr. Beery — Down the
hatch!
(The three gentlemen bolt
the first forkful of filet mignon
and then throw the forks at the
32
Th
e
-Mr.
wanson
Club
nervous old lady from the Midwest, who falls in a dead faint,
accompanied by her niece.)
Mr. Beery — (sitting down) — Boys, did I ever tell you
about the time Gloria — I think it was in '19 — was walking down
Hollywood Boulevard — it was all lined with pepper trees in
those days, and —
M. Henri — Ah, those days in Paris, when we were young
and charming. The trees in the Bois, the music at the Reetz,
the cocktails at Zelli's! Ah, that night when Gloria took off
her shoes and went — what you call wading —
Mr. Somborn — Speaking of wading, reminds me of the
time Gloria was on location at Santa Monica. It seems that
a big leading man named Hector Glutz, or Glitz, or some-
thing was —
Mr. Beery — Heigho! Them was the days! Why, when
Gloria wore that Sennett bathing suit the cops used to —
Mr. Somborn — (shaking his head reminiscently and wiping
away a tear with a roll) — Dear little "Bunny"!
"Who are those nice looking men?" asked the
Nervous Old Lady from the Midwest. "Sh,
Auntie," said her niece, "they all married
Gloria"
Mr. Beery — (stopping short and glaring at Mr. Somborn) — ■
I beg your pardon, Herb. You're wrong. Gloria's pet name
is "Toots"!
Mr. Somborn — (trading him a particularly nasty glare) —
Mr. Beery, I said "Bunnv," and "Bunny" it was and it is.
DEAR LITTLE "BUNNY"!
M. Henri — (leaping to his feet and waving a butter
knife) — Messieurs! My fraaaans! Who should know better
than I that Gloria's name is "Snookums"! Such strange
nimes sadden me. Please, gentlemen! Darleeeeng leeeetle
"Snookums"!
Mr. Beery — "Toots"!
Mr. Somborn — "Bunny"!
M. Henri — "Snookums"!
(Mr. Beery winds up and lets go with a boiled potato. Mr.
Somborn sees that and raises it with two hard rolls. M.
Henri, not to be outdone, wafts a salt shaker and sings the
"Marseillaise." The firing then becomes general.)
By Leonard
Hall
ILLUSTRATED BY
VAN ARSDALE
WHIRR! Burrr! Boom! Look out, below! The
airplane comes so low that men in the war-torn
village street flinch, fearful lest its wheels may graze
them. All is excitement and tense nervousness, as real
as life. Yet this is simply a scene for a big, special film
34
Plioto by Stagy
T_J()LLYWOOD'S most dynamic personality — the
A A barking, biting, shrieking Von Stroheim plays
movie director, Mr. Von Furst, in "The Lost Squadron."
Wearing his inevitable gloves, carrying his inevitable
cane, he and the camera crew watch this tricky scene
<?a
Wide World
Handsome, dashing, singing Larry Tibbett and his bride, the former
Jennie Marston Burgard. When Larry sings, ladies faint with emotion,
but Jennie looks as if she could stand up under the spell of a lower G or
two. Lawrence is warbling with the Metropolitan Grand Opera Com-
pany, but don't let that worry you — he'll not give up his screen career
DOES Greta Garbo wear artificial eye-
lashes? That is a question that has in-
trigued Hollywood as well as millions of
her admirers, and Photoplay has received
hundreds of questions on this subject.
Greta's eyelashes are naturally long, but
even in public she wears a heavy mascara
make-up. Now, that's settled.
The new fad of artificial long eyelashes has
hit Hollywood hard. At a recent dinner party,
Mrs. Raoul Walsh, wife of the director, who
is so good looking that it is certainly gilding
a lily in her case, wore them applied so skill-
fully that it was almost impossible to detect
them. At the same party, Hattie Carnegie,
famous fashion designer, was also arrayed in
a complete set.
X 7J THEN Jackie Cooper appeared
" " with "Our Gang" on the stage
of The Capitol Theater in New York,
eighteen months ago, his name was
not mentioned in the program.
Now he's offered $7,500 a week to
appear in person at The Roxy.
T\ 7HII.E Tom Mix was lung in a hospital
between life and death, following his
operation for acute appendicitis, the former
Victoria Mix, who had secured her final decree
of divorce just a week before, was married to
an attache of the Argentinian Embassy at
Washington. As Tom had turned over to her
about three-quarters of a million dollars she is
pretty well fixed financially.
It has always been said that one of the
troubles between Tom and Victoria, whom he
married when she was working as a cowgirl
in pictures, was that she objected to Tom's
friends, and the living room which he insisted
on decorating with revolvers, guns, steer horns
and saddles. Adjoining this she had her own
little French salon.
36
Her wedding was performed in the swanky
Tuxedo, N. Y., home of Mrs. Ramos, the
former Millicent Rogers, society girl, who also
married an Argentinian.
TX7ELL, Clark, you have arrived.
*" Cadiz, Ohio, your birthplace,
now prints its post cards with the
heading — " Cadiz— birthplace of Clark
Gable."
"DILLIE DOVE and Howard Hughes are
romancing again. They went together for
a long while in Los Angeles. Then they seemed
to go their separate ways, and Howard was
seen beauing Lilian Bond around. Lilian
seems to have slipped out of the picture.
International
One of the cutest pictures ever
taken of that cute little trick, Mrs.
Maurice Chevalier. Having cut
short a vacation in France to rush
to Hollywood and quash un-
pleasant rumors about her hus-
band and Marlene Dietrich, she
is now a gay member of the col-
ony's social set
\^ a 1 York
Seymour doesn't like this snappy
model. He thinks that setting
hen on the lady's head gives her a
rakish look that is not the mode of
the moment. But once, Seymour,
old boy, that was a darn smart
hat. Have you guessed it? An
old still of Gloria Swanson in "The
Coast of Folly"
Wide World
Take off that swanky lorgnette, Joan Bennett, you're not the Marquise de
la Falaise. Sure, your boy friend's name is Markey but that's his real
monniker and not a title. This snap was taken just after Gene Markey
slipped a sapphire and diamond engagement ring on Joan's finger. The
groom-to-be is a writer and used to go places with Gloria Swanson
"LJTERE are some of the names of old-timers
working at one of the small independent
studios one week, every one of them a former
star of considerable magnitude: Henry B.
Walthall, Clara Kimball Young, William Far-
num, William Desmond, Franklyn Farnum
and Priscilla Dean.
T^TD you hear about the desert house Clara
"^Bow has built herself? Right out near
Rex's shack. Only, of course, the house is
for both Rex and Clara.
Well, instead of a number (and who the
heck wants a number on a desert?) steer horns
hang above the door. The house outside is
all red and white stucco. There is a huge
living room, 46 by 30, with beamed ceiling
Ihe IVlonthly .Broadcast
of
Hollywood
Goings-On/
and red cement floor. The fireplace is granite
and gold-bearing ore dug right out of them
thar hills.
Back of the living room is another room
with a bar and yes, yes, my hearties, it has a
rail. It also contains a roulette wheel and —
now wait — a slot machine. Gives it atmos-
phere, Clara says.
Clara and a slot machine. If that isn't a
typical Bow gesture!
Upstairs is Clara's orchid and black bath-
room and orchid bedroom. The other three
bedrooms are downstairs. So are the servants'
rooms.
A huge veranda surrounds three sides of the
house and the garden is composed of huge
cactus plants. The kind that stick when one
unexpectedly backs into them. If one is rash
enough to back. In the center of the garden
is an old Joshua tree over a century old.
Well it may have had a dull old time in the
past century but what it's in for the next,
my, my!
"My desert paradise. My desert of love,"
Clara calls it. Pretty, don't you think?
AND who remembers when Greta
Garbo first came to Hollywood
and told an interviewer she'd like to
have a room with some nice quiet
Hollywood family?
/^\VER on the RKO lot a movie extra was
^called out from the mob. "Name," he was
asked.
"Creighton Chaney," he answered.
"Well," replied a rather sarcastic assistant
director, "it's Chaney, eh? I suppose you
were related to the great Lon, eh?"
"Yes, sir," replied the boy. "He was my
father."
And the assistant director looked rather
silly all that day.
37
"COR ten years, a tall, swarthy-looking in-
dividual has been roaming, rather aimlessly,
about Hollywood, doing bits and small parts
in pictures and an occasional stage play.
Today he's the most talked of man in
pictures. William Henry Pratt (or Boris
KarlolT, the monster, to you) has certainly
rung the bell and has recently signed a long
term contract with Universal Studios.
And so it goes in Hollywood. It's the break
around the corner that keeps them hanging on.
A BIG show-off was bragging
about what a swell movie star
he'd make if he ever got to Holly-
wood. "Well," said a bored eaves-
dropper, "you might at that, you rat.
Mickey Mouse is a hit."
•"THE prize freak accident of the month
occurred on the "Polly of the Circus" set.
Ruth Sehvyn, dressed all up like a Christmas
tree, in a tinsel dress, sat on her horse waiting
to enter the ring. A camel nonchalantly
strolled up (being a camel he would be non-
chalant) and, mistaking the tinsel for sugar,
began nibbling at Miss Selwyn's skirt.
Much annoyed (for after all nothing is more
annoying than a camel nibbling at one's skirt)
Miss Sehvyn pulled away her dress, where-
upon the camel reached over and deliberately
nibbled away a portion of her anatomy that
she needed for riding on a horse.
And Miss Selwyn didn't ride horseback for
several days after.
A WRITER was talking to Jackie
■**■ Cooper on the telephone about
his meeting Tallulah Bankhead at
the party given by Joan Crawford for
the specific purpose of bringing these
two together.
"And were you thrilled at meeting
Miss Bankhead?" she asked.
"Do you mean was Tallulah thrilled
at meeting me?" Jackie answered.
A^ET Marie Dressier on the second of
IViJanuary, 1932.
"How are you?"
"I am still alive," Marie said serenely, re-
minding us that the soothsayers had foretold
her certain death in 1931.
And Marie has always been one of our most
ardent believers in the psychic. Has had each
month foretold for her.
Well, she i>n't quite so ardent!
SIDNEY SKOLSKY tells the story
of a chorus girl, quite stuck on her-
self, who attended a party that
Howard Hughes gave in New York.
"I think Howard is trying to make
me," said the chorus girl.
"I'm not worrying," replied the
boy friend. "It took him two years
to make 'Hell's Angels.' "
T UPE VELKZ has a new boy friend. Ran-
dolph Scott, Paramount's so-called new- Gary
Cooper. Now, ain't that fate? The lad
comes down to Hollywood, heralded as the
successor to Gary, and the first gal he meets
is Lupe.
He must be determined to be a true suc-
cessor for one look at each other and Lupe
forgot all about Jack Gilbert. Can scarcely
remember she knew him.
[t's Randolph's eyes. They got her. Oh,
me — oh, my, and it was Gary's eyes in the
beginning.
However, we're glad it's all happened. It's
the first time in months we've seen Lupe really
happy. All the worn, sad look gone away.
She's more beautiful than since the first days
she fell in love with Gary. All because she's
learned that very old lesson: It may take a
lung time but there always comes a day when
another man can make a woman forget even
the "one and only. "
But then, you can't judge all women by
Lupe.
"DOOR Randolph Scott. He's learning about
1 lollywood with a vengeance. He'd only been
there a few days, brought from stock in San
Francisco, when he met Pola Negri. Interest
at first sight.
Then Pola was taken sick. Randolph met
Lupe Velez. Love in a second.
Then Pola got better. He went to see her.
She was cool. Lupe heard about it. She was
taken sick.
An old hand at the Hollywood game took
him aside: "You must learn first of all in this
town to tackle one wild-cat at a time,
Randolph."
Reverend Gable will now lead the congregation in song. Turn to Hymn
two hundred and eighty-nine in the big blue book. But the big blue book
in this case is the script for "Polly of the Circus," in which Clark plays the
role of a minister. Marion Davies is Polly, of course, a character you all
know, and the two are taking a quick rehearsal before the next scene. Do
you think "What-a-Man" Gable is the type to play a reverend?
Ann Harding doesn't like her new
contract. She thought she could
pick her stories and found she
couldn't. She doesn't like her
picture "Prestige," but she likes
husband Harry Bannister
38
/"-<RETA GARBO simply stood the ex-
^Jccutives of Metro-Goldwyn-Mayer on their
hi ads by her mysterious trip to New York
City. And the rest of Hollywood, too.
No one knew she was going. No one knows
why she went. But Hollywood thinks it was
ju--t another trick of Greta's to prove her in-
dependence. She has a contract to be re-
newed. And just when Metro thinks she's
ready to sign she takes walk-out powders.
HpHE younger sister of a present musical
comedy star was given a contract with a
Hollywood studio and arrived on the Coast
preceded by the usual fanfare of publicity.
Taken to a publicity office, she was asked
the usual questions from the printed blank
and among them was, of course, this:
"Are you married?"
'' Xo, not married," she replied.
The publicity man, as a gag, asked her the
next question, which was:
"Any children?"
"Yes, one," she answered, "but the front
office knows all about it. "
A PEROXIDE blonde, who was success-
•* lul in getting a term contract with a
major studio in Hollywood as a featured player,
was filling out the usual information blank for
the publicity department and getting along
famously regarding height, age, weight, etc.,
until she came to a query as to her education.
The kid had never been beyond the seventh
grade in public school, and when the question,
"Where educated?" confronted her, she de-
cided to put on the dog a bit.
"Educated by a private footer," was what
she wrote. The spelling was her own.
TXTELL, well, well, Mrs. Clark Gable cer-
tainly pays her bills on lime. She was
in Magnin's shortly after the first of January
and gave the saleslady a check to take to the
accounting department to see if it checked
with the store's figures of what she owed
them. She had kept track of her bill and
brought in the check before she received an
accounting! And was she getting attention!
Seven salesladies hovering over her at once.
And the customers whispering to each other,
"That's Mrs. Clark Gable."
I couldn't help but remember Clark's re-
mark, "And a year ago I could have walked
down Hollywood Boulevard munching a dough-
nut and no one would have paid any atten-
tion."— Least of all the salesladies of an
exclusive shop.
PRXEST BOOTH, author of "Ladies of the
Big House," will never be able to see the
picture made from his story because prison
scenes are never shown in penitentiaries. He
is a "lifer" in Folsom Penitentiary.
""THEY have completed the renovation of
"Pickfair," the home of Doug and Mary,
and there are a lot of nice new bedrooms avail-
able for royalty that might drop into Los
Angeles from now on.
T TXTIL Photoplay's story on "The Man
^■That Gloria Swanson Married" appeared
in the last issue, Hollywood was very busy
with rumors about the bridegroom. And such
rumors. His income was $25,000 a year and
not a cent over. Gloria was going to have to
support him. He really didn't have any social
background.
Photoplay's Hollywood office had writers
call with proof (supposedly) for these wild
statements.
Then Photoplay told the whole story and
proved that such yarns came from those who
have always been jealous of Gloria.
A ND about the same time, rumor was doing
away with Adrienne Ames' fabled wealth.
"Huh. She isn't the little rich girl she pre-
tends.
"A penthouse in New York. That's the
bunk. She's just trying to make the grade on
the old gag of a rich-girl publicity."
Then Adrienne went to her penthouse in
New York for Christmas.
Paramount took pictures and they arrived
back in Hollywood.
The gossips gasped. You never saw such a
place. Just one little item: A chaise longue
cover of ermine on one side and black velvet
on the other. Worth enough to pay the ex-
penses of most of the Hollywood gossips for
several months.
We don't want to brag but we do want
you to read us so you'll get the real truth about
these people.
[ PLEASE TURN TO PAGE 76 ]
Keystone
Lookee what we found in an old file.
What grace, poise, charm! When
Seymour saw it he ran screaming
from his office and hasn't been the
same since. It's Wally Beery as a
comic servant in an old picture
One of Hollywood's most charming and popular hostesses. The name?
Look again. Have you forgotten those eyes? Don't you remember when
press-agents said she was born in the shadow of the pyramids and dined
on humming-birds' wings? Theda Bara is now content to be Mrs. Charles
Brabin and shine in the glory of her husband's directorial light, but you'll
hear rumors of her screen return. That's Charles with her
39
W;
The Unknown
Hollywood
IK
HEN Joan
Crawford
first came to
M-G-M she
was more unhappy than
Garbo. Joan's unhappi-
ness was within herself
and had no external cause.
Garbo had a reason for
misery. Joan's vague, in-
tangible emotions were
later to grow into thoughts.
There is no pain so great
as that which comes when one first begins to feel an idea
wandering about in a hitherto unused brain.
I flatter myself that I saw what was going on in Joan.
Although I did not like her at first and disapproved of her in
many ways, I knew that within her was a deep well of intelli-
gence and logic waiting to be used. In the years that followed
I saw Joan Crawford become a personality.
She was a strange girl — wanting more than life had to offer,
but unable to open the door and
take it. She thought it lay in
the realm of gayety. She found
it did not. When she was win-
ning all those dancing cups, she
was unhappier than she has
ever been (and she has, dur-
ing her life, been very unhappy).
She went from night club to
night club, danced madly for
hours and found nothing. It was
worse for Joan than most peo-
ple, since she did not drink. I
believe that cabaret habitues
are able to keep going because of
the false stimulus of liquor.
JOAN never drank. She does
not to this day. Therefore, she
had to bolster herself up on her
own emotions. It is a difficult
and a wearing task.
She got out of one scrape only
to find herself in another. Al-
ways lavish in her generosity,
she remembered all of the work-
ers at the studio with gifts.
Among them was a set musician.
She gave him, like the rest, a
sweater and an autographed
photo. His wife sued for divorce
and named Joan co-respondent.
Of course it was ridiculous, but
the papers said it with headlines.
It was the second time she had
been unjustly named and some-
thing had to be done so we, in
the publicity department, pre-
pared an answer. The creator
of this answer would not want
me to tell his name although he
should have credit for such a
grand retort. Said he — the words
were surrounded by Joan's
quotes for publication — "I'm
tired of being a target for disap-
pointed wives."
Joan was a vivid study in con-
trasts. So many pictures march
across my mind. Joan dancing,
dancing, dancing at the Mont-
ho
now
By Katherine Alber*
Don't miss a word of these
intimate and never-before-
told stories of famous stars
How did Lon Chaney achieve the effect of blind-
ness in one eye for "The Road to Mandalay"?
You'll find the secret in this story
martre, the Ambassador,
Cocoanut Grove, the
beach places . . . Joan sit-
ting in the middle of the
floor of her room at a
smart seaside hotel mak-
ing an entire dress for her-
self without a sewing ma-
chine . . . Joan, going into
raptures over a flamboy-
ant, beaded velvet hang-
ing (now she prefers the
beauty of an old English
print) . . . Joan, reading aloud the notes from her boy friends
. . . Joan, living on coffee and cigarettes . . . Strange, un-
happy, ever-changing Joan.
You see these girls change before your eyes. They come to
the screen so young and so unformed that they must crystallize
as they work, whereas women and men in other professions
and arts do most of their internal growing before giving them-
selves to the public. The picture public is a witness
to all the stark nakedness
of mental growth. I should
prefer to have my divorces or
my affairs of the heart flaunted
to the world rather than my
thoughts, wouldn't you?
Joan's change from an eager,
tragic girl into a lovely woman
was everybody's show. Yet it
was a lovely thing.
Four years ago when I was
visiting in New York a nice
voiced young actor called me
and explained that he was a
friend of Joan Crawford. He
suggested that we have tea to-
gether. We had it together —
with an olive, while he told me
of meeting Joan when she was
on location at West Point. He
adored her but he told me then
that she had been perfectly
honest with him and had never
said she loved him. It was
Joan's honesty (sometimes, in
those early days, amounting to
rudeness) that saw her through
the first part of her troublous
THE lad I've just mentioned
came to Hollywood and made
good in pictures. His name is
Monroe Owsley and he may now
say he and Joan were sweethearts,
but she never held out false
hopes to him and she wrote him
immediately when she fell in
love with Doug.
Joan's life, at its beginning a
muddled mass of emotions, is
now beautiful, but she is not yet
through growing. Every time
I see her I say to myself, "She
has come to the last of her capa-
bilities. She is as good, as a
person, as it is possible to be."
And then I see her again and
some new facet has turned in
the light of her personality.
[ PLEASE TURN TO PAGE 92 ]
Ferenc
IX/TICHAEL CURTI2 directs for all he's worth. Star Marian Marsh looks
-L^-lher most beautiful. But it's that old, decrepit camera that tells the final
story of this close-up for "Alias the Doctor." Look at the darn thing with its
broken jaw bound up in adhesive tape ! Yet it always has been and always will
be the real god of the set
Eugene Robert Ricliee
They've found a story for Dietrich.
It's "Shanghai Express." Clive Brook is
also a passenger. There's love trouble aboard
Clarence Sinclair Bull
Brush it back and there you are. Who
but Garbo could get away with that hair-
dress ? Better not try it yourself
Otto Dyar
T) EFORE Maurice Chevalier was ever heard of in America, Bill Hart was one
-*-*of the best known personalities in the world. Today Hart would give his
best pinto to be back on the screen, while Maurice longs for the quiet of private
life. They're great pals — these two — and spend days together at Bill's rancho
outside Hollywood
A Gallant Moth
er
"I didn't like you in the
last part of 'Over the
Hill,' " Mae Marsh's
daughter, Mary, told
her. "You were too
old. But I guess all
that work would make
anybody look old."
And isn't Mary like her
mother was in "The
Birth of a Nation"?
"Mary really decided
me to play the part,"
says Mae. "She said
that none of her play-
mates at school would
believe I ever was an
actress because they
had never seen me in
a picture. And I
couldn' t let my children
down, now could I?"
THE San Francisco earthquake
drove Mrs. Maisie Marsh, a
widow with six small children,
to Hollywood about twenty years ago. There were
Marguerite, Elizabeth, Oliver, Mae, Frances and Mildred. A
lovely family with no money. No place to go.
Mrs. Marsh heard of a small hotel where she might get the
position of manager. "But not with children," she was told.
"The owner wouldn't want children around."
_ She got the job. Nothing was said about the children. She
hid them. With threats and bribes she kept them under cover.
Until one day the hotel owner dropped in unexpectedly. Six
small children scrambled under the desk in the lobby. Six
small children drew back into the darkest corner, in an effort
to efface themselves. For they had been told about the hotel
owner who didn't like children.
And then suddenly the quiet was broken by a small giggle.
Just a tiny, little giggle, stifled almost before it was born.
But the hotel owner heard it. Little Oliver was pulled out
from under the counter. The man looked at him; looked at the
embarrassed mother; sensed her fear of losing her job.
"Hell!" he roared. "I knew you had a child all the time.
I want to tell you that after the way you have run this hotel,
I wouldn't care if you had ten children. It's all right."
"But there aren't ten," protested Mrs. Marsh. "There are
only six." And one by one they were pulled out into sight.
She didn't lose her job and managed to keep her little brood
together until Marguerite, the eldest, was old enough to look
for work. A beauty, she began her career as an actress at the
old Belasco Theater.
A few years later D. W. Griffith brought his Biograph Com-
pany to California to make pictures during the winter months.
Marguerite had no trouble in securing work with him. And
little sister Mae went to the studio with her.
"Could my kid sister do some extra work?" Marguerite
asked Mr. Griffith. And so Mae's career began.
It wasn't much of a career at first. Mae, recovering from an
attack of appendicitis, was thin to the point of scrawniness.
She was freckled. Her nose turned up. But extra work and
By Franc Dillon
small bits fell her way and were
eagerly accepted.
Then came " Sands O'Dee," one of
Mr. Griffith's first pretentious pictures, and Mae got her first
big chance. Everyone knew that Mary Pickford, the star of
the Biograph Company, would play the leading role. Mary's
heart was set on it and it was an accepted fact around the
studio that the part would be hers. But Mary and Mr.
Griffith had a trivial argument and to discipline Mary, perhaps,
Mr. Griffith rehearsed Mae in the part. She was surprisingly
good. In fact, she was very good, and Mr. Griffith decided that
she should play the part.
Mary's heart was broken and soon after she left the company.
"I didn't mind so much that Mae got the part," Mary ex-
plained later, "but she was so good in it. That hurt."
MAE was always on hand to gather up the crumbs left by
other stars and in her hands the crumbs always seemed to
grow to huge cakes.
"Home, Sweet Home" turned out to be another success for
Mae, another milestone in her career, and paved the way for
her greatest role, the little sister in "The Birth of a Nation."
Another crumb which had grown to a full sized cake.
Mae's story from then on is too well-known to bear repeating.
Her career never traveled along the middle path of success.
Her work was always either a sensation or it was dwarfed by a
poor picture. And often she was miscast. But it was at the
very height of her success that she fell in love with and married
Louis Lee Arms, a newspaper and fiction writer.
For a few years she continued her work and then it became
necessary for her to choose between a career and her home.
Home and children won and Mae became just Mrs. Arms,
living in a big, Colonial house on a six-acre estate in the ex-
clusive Flintridge district, high up in the hills above Pasadena.
For eight years Mae stayed in retirement. Three lovely
children came to the big house. The little sister of "The Birth
of a Nation" was lost in a medley of babies, bottles, nurses,
croup, measles and tonsilitis.
Any day she could be found [ please turn to page 121 ]
-45
Co
me
On, You rat (jrirls!
She made motion picture stars
beautiful and kept them in trim.
She can do the same for you
Listen To
A — This is the exercise for you fat girls
who don't want hips. First you take
this position. Stretch the left leg far
back, toe pointed. Draw the left leg up
and put your weight on it (as in picture
B). As you do this be sure that the
hips rise in the air. Progress as you
move hands and feet
%
mi
B — Go entirely across the floor, back
and forth three times. Do it slowly and
be sure that you feel every muscle in
your hips pulling, pulling. Gradually
increase this until, at the end of ten
days, you're walking across the floor
six times. This is my own exercise. It
is designed to shave off your hips
I'M ready for your alibis!
Last month I told you that I was talking
to just one out of ten of the young women
who read my article. I said that if you
followed my minute instructions you could lose
fifteen pounds. I told the thin girls they could
pick up the same amount. Well, what I knew
would happen has happened.
Oh, you meant well. You were going to fol-
low the diet word for word. You did it for the
first five or six days. And then a friend had a
luncheon party and there was a dish of grand
creamed chicken and you ate just a little bit —
not enough to hurt. And a few days later you
went to a tea and you saw that plate of small
pastries and they looked so good you just had to
have one. And one led to two and three.
You can't kid your Aunt Sylvia. She's been
kidded by experts — Hollywood experts. I said
last month (and you who missed the February
issue may have it by writing Photoplay's Chi-
cago office at 919 North Michigan Avenue, and
enclosing twenty-five cents) that I did not want
those who wouldn't follow my instruc-
tions to read my articles. But behind
my hard-boiled exterior there beats a
heart of gold. I don't know why, but
I get to thinking about those poor,
fleshy girls who didn't do what I said.
So I'm going to give them another
chance. But just one! If you don't
brace up and make a brand new set of
resolutions, I'm through with you
forever!
I'm going to cite Helen Twelvetrees
Underwood and Underwood
C — To develop the bust stand in front of an
open window. Push shoulders back. Relax.
Raise arms, inhale through nose, counting to
eight, palms down. Turn palms inward, draw
hands to chest, as I am doing. Straighten
arms at right angles to body. Hold breath for
eight counts. Exhale, putting arms at sides
as a bad example. She is a dear girl, but she
hasn't the ambition to fight flesh. I will admit
that it is hard for stars to work at the studios
all day and come home and take exercises.
That's why I have to be more tolerant with
them than I'm naturally inclined to be, so I
pound them to get the blood circulating and
stimulate them to fight flesh. Stars have to
keep thin to hold their jobs. You have to keep
thin to hold your husband or get a husband, to
be happy and to have good health.
When I gave Helen Twelvetrees the first
treatment, she was dead to the world. She
flopped down on the bed and tried to vamp me
with those dreamy eyes. "Well, baby," I said
to her, "it's no use. I might fall for you if I were
a man, but I'm only little Sylvia, so up you get
and take your exercises."
"I hate to do it, but I suppose I have to,"
Helen said.
She started off well for about a week but she
couldn't keep it up. She is rather a large girl
and puts on weight easily.
Now don't emulate Helen's example.
Buck up and try once more. But try
^^^ hard. You can do it yourself but you
must have the intestinal fortitude (if
I were talking to you instead of writing
to you I'd use a stronger word) to keep
it up and keep it up and keep it up.
Come on, darlings, be beautiful and
lovely and attractive! You can if you
will. Give up tasting rich food "just
this once." Follow the diet to the letter
of the law. Take your exercises. Be
\6
riev. You okinnv (jirls!
e7
Sylvia
y
Lose or gain fifteen pounds in
one month. But Sylvia says
you've got to help yourself
Lazarnick
"I told you so! I said that
nine out of ten would not obey
me. And you didn't! I sup-
pose you'd rather go around
looking terrible with all that
surplus weight. You don't
want to be pretty, do you?
But I'm going to give you one
more chance !"— That's Sylvia
good girls. Every one of you has the makings of a beautiful
woman. The framework is there. Come on — snap into it.
Do this for Sylvia. Do it for yourself!
Women must fight to be attractive. Look at yourself in the
mirror. Your figure looks terrible. Look at that spare tire.
That should make you fight! You can be beautiful. That
should give you ambition! Step on the bathroom scales. Good
Lord, you didn't know you weighed that much! Well, you do.
But don't you want to change?
There are two kinds of people. Those who did not follow my
instructions and those who did. To those who did I say, " I'm
proud of you." Don't you feel grand? The first ten pounds
were the hardest, yes? But you're on the right track. You
don't mind passing up rich and highly seasoned foods. You've
got more ambition. You're light on your feet. People are be-
ginning to tell you how marvelous you look.
You wonder how you ever ate so much. It was worth it,
wasn't it? Worth every minute of trouble and work and deny-
ing yourself pleasures. You've lost fifteen pounds and you're
going to lose more.
I told you I was too busy to answer letters but, since I'm
trying to do so much for you, I'm going to ask you to do a
favor for me. Write to me care of Photoplay, 221 West 57th
Street, New York City, and tell me how I've helped you.
Thanks! Sylvia's proud of those who followed advice. The
others — let them stay fat if they want to.
As for you others — don't you wish you had listened to me
and were now fifteen pounds lighter than you were just a
month ago? Shame on you! Well, come on. Get together.
Try again. This month it will be different. You know you're a
little ashamed that you didn't have the nerve to stick to the
routine.
Now I'm going to tell you fat girls how to reduce your hips
and I'm going to let you thin girls in on the secret of building
up your bust. Also I'm going to give you the anemia diet.
Then I'll make it possible for you to lose weight and keep your
face from getting flabby. Here goes.
You can take several inches off your hips in a month.
I promise you. That body swinging exercise I gave you in my
first article, the one you were to do for twenty minutes every
morning, was to limber you up, to prepare you for this hip
exercise. Therefore you can substitute this for that.
I've illustrated this exercise in Pictures A and B and de-
scribed the movement in the caption.
It will darn near kill you at first and you'll say, "If ever I get
my hands on that Sylvia." Well, if ever that Sylvia gets her
hands on you — but never mind. I don't need to get my hands
on you. You can do everything I can do for you and better, too.
But don't neglect your dancing. Turn the radio to a peppy
band and, with arms above your head, hips swaying from side
to side keeping your spine moving, do an old-fashioned two
step: One, two and one, two, etc. You can take a good long
step at the beginning and hop more than you did last month.
Do this for one hour every day [ please turn to page 122 ]
D— There are three vital spots on the face that must
be stimulated if you want to keep your face firm
while you're taking weight off your body. My right
hand indicates one spot, my left hand another. The
temples are the third. Press the fingers, making
them tremble like a vibrator, on these spots
47
Select Your Pictures and You Won't
&
THE HATCHET MAN— First National
IF he can't be a gangster and knock 'em off with machine
guns, he'll join a Tong and be a hatchet man, is Eddie
Robinson's answer to the censors. The splendid acting, the
novelty of the background, the magnificent sets and the
exquisite gowns (both Occidental and Oriental), will hold
your interest, in spite of story weaknesses.
Robinson equals his best performance as the Chinese
merchant made wealth}- by his dearest friend — a man whom
he was forced to kill in allegiance to the Tong. His life is
devoted to bringing happiness to this man's daughter whom
he has reared and married, only to have her snatched from
him by a young, Americanized, gin-drinking Chinaman.
Loretta Young, lovely in her Chinese make-up, wins new
laurels. Leslie Fenton and Dudley Digges are also excellent.
it
LOVERS COURAGEOUS— M-G-M
OXE of those sweet, idyllic stories which make you be-
lieve fairy tales may come true in spite of modern
sophistication and depression worries. Therefore, very much
worth seeing.
Robert Montgomery is at his wisecracking best in this
adaptation of "Courage."' which he played on the stage.
But even Bob's good acting would have made only half-a-
picture without Madge Evans. That girl is grand: A vivid
personality, if you ever saw one.
It's not a big production and depends upon an old theme
— the rich girl who tosses everything overboard to starve
with a struggling playwright. But love and good perform-
ances make it a safe proposition for a bang-up-evening.
The
Shadow
A Review of the New Pictures
it
ARSESE LUPIS— M-G-M
THE acting is so superb that no one should miss it. For
here you have the two Barrymore boys in their first
appearance together and at their best. And that, good
people, is a real best.
The well-known story of the daring thief who baffles the
Paris police is too well known to repeat here and yet it has
been sufficiently modernized, with sprightly lines and situa-
tions, to keep your interest at a high peak. Certainly there
are some weaknesses and a few directorial slips, but when
Jack and Lionel are working together you don't care whether
the plot sags at the knees or faints away.
John Barrymore is Arscne Lupin and that means he fur-
nishes the romantic interest, while medal-winning Lionel
dashes off a character performance, as the captain of police,
that may have been equalled but just at the moment we
can't remember where.
Which one does the best acting? That's a little problem
v it h which to start a family argument on a long winter
evening.
Karen Morley, the girl with the Garbo voice, has her
splendid moments, but at times she has to work hard to keep
up the pace the Barrymores set.
Put this film on vour fist. You'll be fascinated bv it.
Have to Complain About the Bad Ones
The Best Pictures of the Month
ARSENE LUPIN THE MAN I KILLED
THE HATCHET MAN LOVERS COURAGEOUS
DANCE TEAM MURDERS IN THE RUE MORGUE
The Best Performances of the Month
Lionel Barrymore in "The Man I Killed"
Lionel Barrymore in "Arsene Lupin"
John Barrymore in "Arsene Lupin"
Jimmie Dunn in "Dance Team"
Sally Eilers in "Dance Team"
Edward Robinson in "The Hatchet Man"
Madge Evans in "Lovers Courageous"
George Arliss in "The Man Who Played God"
Paul Lukas in "Tomorrow and Tomorrow"
Casts of all photoplays reviewed will be found on page 125
•k
THE MAN I KILLED— Paramount
EVERY once in a while someone makes a motion picture
that is a gem, a beautiful, living poem. And now no less
a person than Ernst Lubitsch, director of frothy musicals,
has made a touchingly beautiful picture.
The story deals with a young French musician whose soul
is constantly haunted by the face of the man he killed in the
trenches. Deep remorse drives him back to the man's town
in Germany, where he is taken into the man's home by the
father and mother who never dream the thing he cannot
bring himself to tell.
He falls in love with the dead man's sweetheart who learns
his secret and forces him to make the sacrifice of remaining
forever in the home as a substitute for the man he killed.
The story is beautifully and simply told. Phillips Holmes,
as the Frenchman, gives a grand performance. Chalk up
another perfect performance for Lionel Barrymore, as the
German father.
Nancy Carroll, as the German sweetheart, brings a quiet
naturalness to the part. The whole thing is a powerful
preachment against war.
It's a picture that will appeal to those who love a tender,
beautiful story. If you must have sex and snap and sophisti-
cation, don't see it.
*
DANCE TEAM— Fox
O
he
NCE again the team of Eilers and Dunn hit the bull's-
is Dicture :_ "~>nd "Bad Girl,"
■ he old story of
catches up —
.. a moment.
imie Dunn, as a
tvids you knew in
headline dancers,
zr, barker and hot
then Jimmie, the
t are some over-
jy others in the
,i'° being anything
*
MURDERS IN THE RUE MORGUE— Universal
ANOTHER shocker with all the time-honored appurte-
nances— clutching hands shadowed on the wall, the
monster menacing the beautiful heroine, the madman with
the homicidal complex, yet this famous Edgar Allan Poe
story manages to smack of the novel. It is different from
"Frankenstein," and if that sent the cold chills up and
down your spine, prepare yourself for another thrill evening.
He plays Dr. Mirakle and, although folks who like the
repressed school of acting will get a little annoyed with his
tactics, he is, nevertheless, the perfect type for this sort of
film. Score another one for smiling Junior Laemmle, the
producer. Score a nice performance for Sidney Fox. And
give the ape a hand.
A9
Here's Your Monthly Shopping List!
THE MAN
WHO
PLAYED GOD—
Warners
THE SILEST
HITS ESS-
Fox
WITHOUT George Arliss this would be mild entertain-
ment. But Arliss' skill is so great that the rather old and,
at times, unbelievable situations, are gladly overlooked. The
story concerns an embittered, deaf man who, through lip read-
ing and a pair of powerful field glasses, comes to know the needs
and problems of the people in the park below. Violet Heming is
splendid. See it.
COURT-ROOM drama in a strangling mystery, with the
victim the mistress of a gilded young man whose father
attempts to shoulder the blame. It's quite all right, and made
more so by Lionel Atwill, stage favorite, in his talkie debut.
You'll want to see him again. That cockney witness who
steals the show is Weldon Heyburn. Greta Xissen plays the
loose lady, but hasn't much to do.
TWO KISDS
OF WOMEN—
Paramount
U
PHILLIPS HOLMES fits the role of wealthy playboy, and
Miriam Hopkins is the senator's daughter from South
Dakota, who succumbs to the excitement of New York and the
charm of young Mr. Holmes. Wynne Gibson, playing the
"other kind" of woman, causes the complications. Miriam
should have meatier roles; Irving Pichel has done better; the
story's weak. But entertaining, if you're not too critical.
HIGH
PRESSURE-
Warners
A BREEZY, amusing opus of "The Get-Rich-Quick Wall-
ingford" type. Bill Powell, promoter, whizzes his way
through a ticklish proposition to the edge of the penitentiary.
Being a pretty good character, he only hits the edges. Powell
is splendid, as is Evelyn Brent, the girl friend, who would like
a home and babies but must take bogus bonds to keep up with
her financial high-stepper.
PRESTIGE—
RKO-Pathe
FREAKS-
M-G-M
THE murky setting of a tropical penal colony again accentu-
ates Ann Harding's platinum loveliness, but it doesn't com-
pensate for blatantly careless plot construction. The way in
which Miss Harding, as a poised Frenchwoman, is forced at the
point of a camera to stand stoically by while her weakling
husband goes native, fails both actors and audience and offers
only an anticlimax to " Condemned." Exquisite photography.
50
IF you're one of those who pay admission to the side show and
pass up the big circus, you'll like this picture, which is a yivid
story of the sordid life of pathetic creatures who have missed
part of their physical and mental heritage. Baclanova, who
has the part of the beautiful trapeze performer, gives an excel-
lent performance. The freaks were gathered from all over the
world for this film.
The First and Best Talkie Reviews!
CHARLIE
CHAN'S
chance-
Fox
NO ONE
MAN—
Paramount
SLOW motion where swift is needed is the trouble with this
latest offering of Charlie Chan. Detective stories should get
away to a snappy start and keep your mind on the run. This
lets you walk. However, if you're a detective fan you'll want
to watch that excellent actor, Warner Oland, as the famous
Earl Derr Biggers sleuth, get his criminal. There's a grand
cast to help you enjoy it.
THIS is a lavish production of a dull, slow moving story, all
about a girl who is bent on marrying three times. The
players, including Carole Lombard, Ricardo Cortez and Paul
Lukas, more than make up for a weak plot with gay, sparkling
performances, while excellent dialogue, sumptuous clothes and
smooth direction make you forget how little action there really
is. Nice enough.
THIS
RECKLESS
AGE—
Paramount
PANAMA
FLO—
RKO-Pathe
YOU saw the silent version of this several years ago under the
title, " The Goose Hangs High." Despite the sincere efforts
of such stars as Richard Bennett, Frances Starr, Charles
Rogers, Frances Dee and Peggy Shannon, this just doesn't
click. Perhaps the passing of the jazz age has left us a little
cold to the pranks of thoughtless youth and sacrificing parents.
Charles Ruggles is a bright spot.
SITUATIONS that are different and should have been enter-
taining somehow go haywire in this potpourri of a New York
speakeasy, a Panama honky-tonk and the South American
jungle. Neither Helen Twelvetrees, as lovely as ever, nor
Charles Bickford, can rise above the inconsistencies of the char-
acters and the trite dialogue. Players as capable as Twelve-
trees, Bickford and Robert Armstrong deserve meatier stuff.
TOMORROW
AND TO-
MORROW—
Paramount
SKY DEVILS
—United
Artists
ANOTHER conversational stage play and not a "moving"
picture! With the exception of a few scenes, Ruth Chatter-
ton is not the lovely, wistful Ruth you know so well. She plays
the role of a woman who is frustrated in her desire for mother-
hood. Paul Lukas, as the Viennese doctor, is superb. And
Robert Ames in this, his final picture, gave the best work of
his long career.
IT'S been done before ■ — making a comedy of life in the
trenches. You've even seen some of the gags! But they're
done so well with new faces that even the old ones bring laughs.
A good hour and a half of giggles, and a look at some great air
stuff is our promise for this one. William Boyd, George Cooper
and Spencer Tracy are capably humorous.
[ ADDITIONAL REVIEWS ON PAGE 107 ]
51
audette, lour J\
ew
"Buttons are the thing,"
says Claudette Colbert,
pointing to her new
brown silk frock. Yes,
and that diagonal ar-
rangement is new, too.
Clever brown leather
belt, Claudette. And did
you say your hat is
Rodier fabric, stitched?
Four sables gave their
all for that scarf
Just like a man's loung-
ing pajama suit— but very
feminine withal. Claud-
ette wears this for the
orange juice and coffee
hour. They're yellow
brocade trimmed with
dark blue silk —isn't that
a grand combination?
Don't miss the side
stripes or the crease on
the trousers
Not only a change of cos-
tume but of hair coloring,
too, it seems. You'll have
to see the picture to find
out why Claudette does it!
Meanwhile, study this
lounging outfit — it's
a knockout! Coral velvet
embroidered in gold
thread for both trousers
and blouse. Very gay
sleeves from the elbow
down. This is for more
formal leisure
62
s
creen
Clothes Are Crand!
Don't miss a
detail in this ex-
clusive preview
of the fashions
Claudette Col-
bert wears in
"The Wiser Sex
Photographs
by
Shalitt
99
"Of course this jacket goes
with the skirt, silly!" says
Claudette. "It's terribly
smart to wear a plain skirt
with a diagonally striped
jacket." It's black woolen,
the skirt plain, the jacket
finely striped. A black crepe
blouse has an Ascot scarf at-
tached. In the circle, note
the two diamond clips on her
black felt hat. Also the up-
in-back roll and eye tilt. This
Claudette knows her fashion
ABC's, all right!
Sara Hamilton
Sara says you don't like clothes, Norma,
but if you are thinking of throwing away
this lovely new outfit with its black
velvet jacket and tricky ermine sleeves,
let us know. We'll be hanging around,
hoping you might let us in on such new
fashion tricks as that white satin dress,
creased over each knee like a man's
trousers. And those short black gloves
— are they the choice of a girl who
doesn't care about fashion trends?
NORMA SHEARER is a sensible woman with a giggle. Which
should explain a lot of things about the young lady. But prob-
ably doesn't.
In spite of everything, she will bite at her nails and walk in
her sleep. But not, of course, at the same time. For instance, she never
bites when she's walking or walks when she's biting. At least she's pretty
sure she doesn't.
And the biting has been reduced, at only Norma knows what cost, to
the littlest finger on her left hand. It, however, is practically bitten
away.
She always plans too many things to do in one day. And usually does
them all. The more there is to do, the happier she is. She is deliriously
happy three-fourths of the time.
Clothes bore her to death. Claims she could weep at the sight of them.
Nevertheless, she is compelled to give them considerable thought. And
has never been known to shed a tear over it.
She takes infinite pains in seeing that every accessory matches. A new
dress is permitted to hang in her closet for weeks at a time until she is
absolutely certain she has the proper hat or shoes to wear with it.
She visited Paris without buying a single frock and hurriedly snatched
off two hats while passing through London. She wears plain, tailored
sports clothes that run to woolens and scarfs in the daytime. And plain
satins for evening. Her wardrobe is not extensive, but she wears things
just one season. And then promptly gets rid of them. In the spring, she
sells her last summer's clothes. In the fall, her winter things.
She loves the frilliest and laciest of underwear. But wears only the
plainest of pink knit. With no lace. Or no anything. Just plain knit.
And decidedly pink, too.
As Norma says, herself, she can't imagine why the report that she
wore no brassiere in her picture, "Private Lives," should get scattered
all about.
As a matter of fact, she declares, she didn't wear a brassiere in "Private
Lives" or in anybody's lives for that matter, but why start a report about
it? That's what stumps her. Teh. Teh. Teh.
Luncheons or tea parties during the day bore her to death. Actually
Oh, Miss Hamilton, how
can you dare tell such
very intimate things
about Miss Shearer?
ELLING
ON
ORMA
give her the fidgets, Norma claims. Thinks of all the things she
could and should be doing while she sits there.
She loves gay times with friends. But only after six o'clock.
And promptly at eleven becomes so sleepy she can't imagine
where she is. Or why, even. Comes eleven and Norma wants
to go to bed.
She seems, to those who know her slightly, much more gay
and optimistic than she really is. For very often, and for no
reason, she'll be seized with moods of self-consciousness and
imagines no one likes her. And suffers horribly.
Old things have a strange hold on Norma. She has the same
studio maid she began with. Years ago. The same dressing-
room. While Marion Davies, Garbo and Crawford revel in
exquisitely furnished bungalows of four and five rooms, one
must climb a rickety pair of stairs to a long row of doors where
next to a door marked Miss Greenwood is one marked Miss
Fie, Norma, don't you go bit-
ing your pretty nails anymore.
And, is it true that you some-
times walk in your sleep?
Shearer. A tiny nook of a dressing-room. The one she began
with. And nothing would induce her to change it.
She keeps the same servants. Year after year. And after
talkies did away with any need of stage musicians, Norma kept
hers. And paid them out of her own salary. So strong is her
belief in old things bringing luck, that when she began making
''Let Us Be Gay," she moved back to the house in which she
lived while making "The Divorcee." She was positive the old
house would bring her luck. Otherwise she loathed the place.
Dropping hairpins means losing a friend to Norma. She'll
search for hours on her hands and knees for a lost pin. No
losing friends if she can help it.
She has a tremendous appetite, but claims food wearies her
to death because she likes and eats everything. Is constantly
threatening to become fussy about her food so people will fly
madly about preparing extra dainties and worry dreadfully.
But, somehow, she always forgets about it until she's eaten
everything in sight.
AT the studio she has her luncheon sent over to her dress-
ing-room from the executive's table. And never knows
what she's having. She says she loves to be surprised. But
seldom is. It's usually beans and cutlets.
She postpones drinking her tomato juice until the very last
thing because she isn't too fond of it. But molasses cookies she
dotes on. No such cookie on the tray, and her whole afternoon
is practically ruined.
Norma Shearer is immensely proud of her little son and has
grand ideas about him. Thinks a parent's job is filling a child's
life with happy fun and gay times together. And not holding
on and twining oneself about his thoughts and heart and soul.
So that when it's time for him to leave, as they always do, she
can reach out a hand in gay, happy fellowship and say, "Best
of luck. Your life is your own. Take it and live it."
And, too, she thinks no mother should place a child before
a husband. Children always leave. Some time. Husbands
seldom, if they're kept sweethearts.
Wise, beautiful lady.
And she is much more beautiful off the screen than on. Her
skin is clear and fair. She wears a clean, scrubbed look and an
amazing dimple in her right cheek. That doesn't photograph
for some provoking reason.
She curls her own hair. Taking long clean strips of cheese
cloth and wrapping each strand of hair about the cheese cloth
strip until she finally emerges with an amazing mass of cheese
cloth ends. Like a platinum-headed pickaninny.
Thirty minutes later each strand [ please turn to page 110]
55
When I Faced Death
f 1 1HE only thing that hasn't
t
By Tom Mi
taken place in my hospital
room is a post-mortem — com-
monly referred to as just plain
"post," in hospital lingo.
First, I am in all wrong. Am in
the right church, but the wrong pew.
I don't belong on this floor, they tell
me, cause it's clean. I belong on
number three, that's dirty. Reason
— this floor is for clean surgery and
the third, dirty surgery, such as
drainage cases. Here's how come
I'm here. The night I was unloaded
and left on the front porch of this open-all-night physical in-
stitution of search and research, they didn't know if I had
been kicked by a horse, struck by a side winding rattle snake
or listened to the fermenting of the home brew too long.
The night watchman, making his rounds, discovered me and
like an orphan left on the door-step, I was taken in and turned
over to the research department, which put me through the
dipping vats and disinfecting chute, declared me free from
hoof and mouth infection or fever ticks and said I could pass
the quarantine to the open range and grazing grounds of the
research boys, who I could hear grinding their knives and
waiting with gurgling, ghoulish glee.
But, about this time, my friend Dr. Smith arrived from his
ranch out Malibu way, riding his best cutting horse, to major
domo the round up.
He had me dragged to the periscope pen and looked into,
and discovered that the old pen-dix
had gone plumb wild, quit the home
range and was running all over the
restricted territory. Dr. Smith
marked the spot where he thought he
could locate this old rascal, slipped
me in a hurry over to the brandin'
corral, where Dr. Hutchinson sneaked
up behind me and shot a load of
sheep dip, or something, in the third
joint of my spine, which put all of
me from there down out of working
order, in order for Dr. Smith to try
and get his rope on that galloping
pen-dix and bring him into camp.
In the meantime, leaving me from
the third lumbar up in a state where
I could read brands, watch the count
and put them in the tally book.
THE boys are all in a corner plan-
ning how to drag the range, when
Dr. Smith stampeded them out of
their covey, using sign language, and
the first thing I knew, I was hog-tied
by this bunch of Klu Klux dressed
up Indians.
I know now why they put on them
thar masks and all the fixings around
their heads; it's to keep the "Ex-
hibit A," if he don't turn out to be a
corpus delicti from recognizing them,
so he will know which one to shoot
first in case he met up with him at
some out of the way place.
Dr. Smith takes his favorite bowie,
runs his thumb over its edge, con-
sults his Rand McNally, takes a
peek at the almanac, sees the sign of
the moon is okay and goes to work.
When he had been at it what
seemed about four or five hours to
me but actually five minutes, I took
a squint and I thought I was looking
56
Our Favorite Cowboy
wrote this to his many
Photoplay fans from the
hospital
X
-
*k
% '
~4
If! *.
s
':
-*♦*•**?
Wi
S.--I
H <
■i
'>
'
1
v-
m 1
[ \
jJhe!^*-" ■ /m
^
1
A
k
When they sent Tom home from the
hospital he insisted on sittinp out in the
yard to greet "Tony," and you should
have heard that pony whinny his happi-
ness after five weeks' separation
into the Grand Canyon, so I decided
they could do the rest without any
help from me.
Then all at once I heard Dr.
Smith say, "Folks, that old pen-dix
has teamed up with another tough
hombrc called peritonitis, and between
the two of them they can sure make
short work of a boy, once they get
him down."
I hear this and says to myself,
they may think they'll get me down
and stomp on me, but I might fool
them.
So, anyway, they took old pen-dix into camp and chased
that peritonitis in a corner but he broke out past them. Dr.
Smith sent for his old elephant gun and shot him full of holes.
IT looked for a while as if I would cross the range and, after
all, the trails I rode had not been so smooth — plenty of cactus
and catspaw — as a boy draggin' wood to the chuck wagon
helping the cook, horse wrangler, night hawk, cowboy, horse-
breaker, wagon boss and foreman. It was a long trail full of
thrills, spills and happy-go-lucky, take 'em as they come.
Movies, success, beautiful home, friends, my baby Thomas-
ina. So I looked over the horizon with curiosity, wondering
what was there. I had no fear of death. God knows me.
Then I thought of the many things I wanted to do and the
looking after of my baby girl, Tommy; the friends and the
young folks a-pulling for me, so I couldn't lay down on the job.
That decision being arrived at, I
snapped the old jaws together and
let them hop to it. Never having
been worked on in the region of the
belt buckle before, it made me kind
of squirmish.
OF course, I'd been hungry, had
the collera morba when a kid, ate
and drank everything that caused a
fellow to make resolutions in the
middle of the year. But when they
started poking around in my equa-
tor, like twisting a rabbit out of a
hole with a green briar, uncoiling a
mile or so of those things necessary
to have, I got a-thinking, maybe
they wouldn't get them untangled,
coiled and hung on the right peg in
the saddle house again.
I could see by the expression of
the doctor's eyes, (the rest of his face
being covered by a mask), that
everything was not so good, but I
had confidence in Dr. Smith, plus
fifteen years of friendship, and knew
he would do his stuff.
They sewed me up, using three or
four pairs of rubber gloves with the
ends of the fingers cut off sticking up
out of the wound, which handed me
a laugh, for my tummy looked like a
rubber plant. Then they have a gag
of using pearl buttons, setting them
four on each side of the wound and
about two inches apart and up, down
and across, connected with a draw-
string running through my hide, so
they could clinch it up tighter any
time the saddle began to slip.
This handed me another laueh,
for I looked as if I had on a four-
button, double-breasted coat, only
[ PLEASE TURN TO PAGE 106 ]
J
Otto Dyar
No, no, gentle reader.
The picture of Frances
Dee isn't upside down.
But turn it up if you
want to. You'll do it,
anyhow
Talked Too Much
IT was the second day on the set of the Maurice Chevalier
picture, "Playboy of Paris." Frances Dee, the newly dis-
covered leading lady, was walking downstairs in a gorgeous
white gown, under the tutelage of Director Ludwig Berger.
Just a week before she had been a merest stock bit player at
seventy-five dollars weekly. Now, she was a full-blown leading
lady.
Naturally, Mr. Berger was taking many pains with Chev-
alier's inexperienced discovery. It was necessary. She was
pretty, she had charm, but she knew little of pictures. He told
her step by step how to descend those stairs so the camera would
catch her to the best advantage. She tried it several times.
Something was wrong. Finally, Miss Dee approached the
director:
"It is because you do not allow me to descend them natu-
rally. A woman in this kind of gown would come down — thus!"
She ran to the top and started down. The director watched.
The girl was right! She was as natural as a butterfly flitting
from one bud to another, her way.
This story spread on the Paramount lot as rapidly as had the
rumor of the quarrel between Lilyan Tashman and Eleanor
Boardman! For an extra girl on the second day of her big
opportunity to tell a director how she should make a picture
was heresy, and heresy has always made good gossip.
But she continued to make suggestions and Director Berger
continued to listen! Of course, she was riding for a fall. It
was inevitable. They waited! Then came the day when he
whirled on her: "Sometimes you make
good suggestions; sometimes you make /? V T? 11 /
bad ones. You shouldn't talk so much ! " u J iy U l
There were rumors about this new girl. She didn't seem a
bit excited about her success! She took it as calmly as though
it were her divine right to be selected by Chevalier. And when
Josef Von Sternberg chose her for "An American Tragedy,"
she took this in the same nonchalant, I-expected-as-much
manner.
I remember the day Anita Page took a test for " Red Headed
Woman," to be made by M-G-M. We all knew about it. Anita
was so excited at the opportunity to make a test for a big lead
that she told the entire world! Youth gets excited when
opportunity almost knocks in Hollywood. It means so much
if it should happen. Even older actresses succumb to that.
Hedda Hopper was wild with enthusiasm on the day they told
her she might play Greta Garbo's maid in "Grand Hotel."
Marie Dressier was like a child with a new toy when she read
the script of "Politics."
AND here was this newcomer acting as though " breaks" were
especially ordained for her! Sidney Fox told me when she
and Frances were working in "Nice Women": "I wish I could
be like Frances Dee. She never gets excited about anything."
This twenty-year-old has a philosophy. She analyzes her
emotions and controls them through stern mental training.
Most actresses live on the bubbles or the dregs of emotions.
They are exalted today with the prospects that glimmer before
them. They are in the depths tomorrow, because those pros-
pects have proved to be bubbles.
Frances Dee is assiduously trying to
ll /? 7 P r V save ^erse^ tne nervous thrills of the
l " ' J heights [ please turn to page 124 ]
57
Vra
I* or ever
(phasing
Garbo
By
Leonard Hall
Padded Cell No. 1313
New York State Looney House
June 42, 1819
.Dear Editor Quirk:
Well, Editor, here I am in a nice comfortable cell, picking
black-eved susans from the walls, just as you have often
prophesied — and all because Greta Garbo spent a couple of
weeks in New York!
I like it here. Napoleon drops in every afternoon for a dish
of tea or a friendly shot in the arm, and Cleopatra is a great pal
of mine — we are raising asps in our spare time. Believe me,
Editor, the peace and quiet of this place is swell after what I
went through running the Stockholm Baritone up alleys and
over spiked fences while she was in New York. "Scoop" Hall,
your demon reporter, did his stuff for Photoplay, all righty,
and if it landed him smack in the booby hatch, he got the story
for you and our 500,000,000 readers.
And here it is!
I was enjoying my usual afternoon snooze in the back room
of Tony the Boot's when the alarm bell, which I always carry in
my vest pocket, clanged loudly. Hurriedly pulling on my
rubber boots and clapping my chief's helmet on my somewhat
addled noggin, I rushed into the street in all directions.
" Pst ! " psted Sleazy Joe, my stool-pigeon. " Greta Garbo's in
town. She's registered at the St. Moritz Hotel as Mrs. Gussie
Berger." And with a last "pst" Joe dove into a nearby man-hole.
I was off, like a shot, to the St. Moritz — a new and fancy
hotel, of some hundreds of rooms and 12,000 sunken baths, that
smiles down on the southern fringe of Central Park.
It was true! Garbo was in New York! Hastily assuming my
Disguise 22, "Visiting Scientist," consisting of a red Van Dyke
beard and shiny pants, I was ready for duty.
Then, Editor, began the maddest, merriest few days that
ever blistered the life and singed the soul of a great reporter.
58
I had to be sly, for newspapermen were as thick as flies in a
livery stable. Walter Winchell, the noted Broadway columnist,
disguised as The Archbishop of Canterbury, pottered about the
lobby, demanding an interview on the Religious Aspects of the
Soviet Five Year Plan. No dice — not even acie-deucie. Garbo
turned him down cold. His ego painfully fractured, he hobbled
to his typewriter and spanked her mystery in burning print.
But not "Scoop" Hall! He remembered your orders —
"Bring back that story or else do a double-back-jackknife off
the Empire State Building!" I stuck to it, Editor! "Garbo or
bust!" I said grimly.
"Mrs. Gussie Berger" — egad. Editor, what a name for the
Swedish Rose! — was in that there hotel! And I would run her
down!
I buttonholed the help. One bell-hop, who had been inspect-
ing the keyhole for mice, admitted, with the help of four bits,
that he had heard Garbo sneeze. An elevator man, goose-
greased with a dollar, said that he had heard The Great White
Silence say " Yop" or " Yup," he couldn't remember which.
FIERCE reports came to the corner of the hotel lobby where
I lurked, now disguised as a syringa bush.
Garbo, hiking in the park for a breath of fresh air and cinders,
had been set upon by a mob of ten thousand, who had pulled
out all her hair for souvenirs. Garbo had been shopping on
Fifth Avenue for a second-hand tweed topcoat. Garbo was
selling apples at the corner of Park Avenue and Fifty-seventh
Street. Garbo had been seen at a famous night-club in Harlem,
talking Hoch Swedish and Ordinary Mississippian with a Sene-
gambian banio-twanger.
I jumped on my raging red motorcycle and ran these rumors
down, other and feebler reporters puffing and cussing in my
wake. Once I thought I caught a glimpse of that old coat going
over a high fence, and heard a sneering voice mutter "Ach,
"Scoop" Hall,
greatest living
authority on the
Stockholm bari-
tone, writes from
padded cell
about Garbo's
New York visit
ILLUSTRATED
BY
RUBE GOLDBERG
Nurtz! " but it may just have been the goofy, ga-ga imagination
that finally landed me here.
Then came the night she went to the theater, and — well,
Editor, I guess I owe you an apology for that one!
FOR go to the theater she did, with a gent'man friend. The
play was a giddy comedy hit, " Reunion in Vienna," and there
was Garbo, all decked out in a green frockie and stealing the
show from the actors, who were pretty put out, I can tell you!
The fact is, I learned this from my pal, the gal who sells peanuts
between acts. I happened to be sitting up with a very sick
| friend that night, and somehow I just missed her. As I galloped
up to the playhouse on "Silver King," my pinto hoss, Garbo
had just left in an auto-gyro and mounted coppers were massag-
ing the scalps of the huge mob with their nightsticks. But I
darned near had her that time, Editor! Why do friends get sick
to be sat up with?
Then came the greatest break of all! It happens that one of
my pals is the smartest girl press-agent in New York, and
among her accounts is a beauty shoppey run by one Louis
Parme. Well, there had been some comment about a Mrs.
Gussie Berger who was coming up there to get her wool rubbed
and shredded. " Looks like an old-maid school-teacher! " com-
mented one of the help — her name was Heloise or Gert.
My press-agent friend took one quick look, and — oops!
You've guessed it, Editor! It was Greta, the Guttural Goddess,
and none else!
There she sat, with her bib on, getting a good going-over,
having tight curls put in her back hair that, when combed out,
would become the familiar Garbo hair-arrangement. Well,
then the shoppey was in a fine dither! Garbo wore black stock-
ings, a long, shapeless tweed coat, a white turtle-necked sweater
that came right up to the chin, a skull cap and dark goggles.
When she went into the street again she looked like a sun-
blinded student of Anglo-Saxon on her way to the public
library! And about all she said, while in the shoppey, was
" Bleeze close dot gurtain! " whenever the little maidens rallied
round for a free peak at divinity with its hair down.
And— well, Editor, I might as well confess that I missed that
one, too. You see, Mother had sent me out to get one of these
Wall-Eyed Pekes, and by the time I had stolen the brute,
sneaked it home, and rushed to the shoppey, Garbo had, as they
say, taken it on the lam. But you can see I was in there fight-
ing, Boss!
And so it went. I picketed the hotel, acted as porter and
room-clerk, went upstairs on trays disguised as a tomato juice
cocktail. But somehow I never quite got delivered to Gussie
Berger.
One morning I went up to the manager and said brightly,
"Well, and how is my old friend, Mrs. Berger!"
MERCIFUL heavens, Professor! Haven't you heard?"
asked the horrified Boniface, Mon. Godfrey Taylor.
"Why, Mrs. Berger left for Hollywood last night to get a
job as Greta Garbo!"
Then it was that I went cuckoo. I hurled the manager into
a fountain, frightening fifty goldfish to death. I kicked and
screamed. The next thing I knew a man in white was saying,
"Take it easy, brother! " And here I was, and still am — play-
ing pinochle with a couple of Julius Caesars and unsuccessfully
counting my fingers.
So "Scoop" Hall missed — just by an eye-tooth and a couple
of molars. But he got the story for you, Editor, the story of
Greta Garbo in New York as Mrs. Gussie Berger. My rep as
one of the greatest reporters of all times is still unsullied.
Hoping you are the same, Editor,
I am still your famous reporter,
Leonard Hall
59
GO
WHITE is big in fash-
ion this year — for
daytime or for evening.
Circles of brilliants are
cleverly embroidered in
a scattered pattern over
this white crepe romain
gown that Carole Lom-
bard wears above.
Don't miss that bodice
detail. The front is de-
signed so that two pieces
of material cross in front,
cross again in back, and
tie in front. Very un-
usual. The back decol-
letage is extremely low.
//
is Favored
One Man"
MUCH of the action
of "No One Man"
takes place in Florida,
so Carole's clothes make
an excellent forecast of
what you will be wear-
ing this summer. Below,
the bathing suit is the
new two-piece style of
shorts and brassiere. The
cape is a nice variation
of the beach robe — in
white jersey trimmed with
balls of yarn.
MAGINE a dazzling white
jacket of seed pearls and
brilliants, topping your black
crepe evening gown. That's
what Carole Lombard is wear-
ing on a warm Florida night in
the picture above. The waist-
length jacket fits snugly.
THERE'S FASHION NEWS IN
HATS, SLEEVES AND NECK-
LINES THIS SEASON
PORTRAIT of a young
lady waiting for the
first warm day to wear a
new suit! This one of
Miriam Hopkins' is cut on
simple, tailored lines, but
looks feminine. Probably
because the tweed is
woven in a soft, irregular
pattern. A small rolled
turban, in the same black-
and-white tweed, has a
piece of ribbon tied in
front. Note that the jacket
is belted and has pockets.
Trick flare on those hand-
sewn gloves. Seen in
Two Kinds of Women."'
J
THIS white silk blouse should never be cov-
ered by even the best looking jacket. Miriam
Hopkins wears it under the suit I described
above. Don t miss two big details you'll be see-
ing on both frocks and blouses. The neckline
tied high with a big bow. And full sleeves
caught in at the wrists by smaller bows.
THE whole design of
clothes is simpler, and
trimmer. Less period stuff
— and more really wear-
able things. You ll notice
this trend in new screen
costumes, especially. Fem-
inine details still linger
because they are becom-
ing. For instance, this col-
lar on a black crepe dress
worn by Miriam Hopkins
in "Two Kindsof Women.'"
It's organdie, all done up
with little flowers and a
big bow. The same flower
idea is repeated on bell
sleeves. Cire ribbon, fine-
ly shirred, makes a smart
turban trim, I think.
HERE'S a tip on your Easter bonnet. It can be
small, like Evalyn Knapp s, have a feather
sticking up at the side or in back — and be a com-
bination of rough straw and felt. This one is blue
— one of the first spring colors. Don t forget the
tilt!
MORE collars and cuffs — seems to be quite
a rage, doesn't it? Our smart friend,
Lilyan Tashman, uses crisp Irish lace for
collar and cuffs on her black silk jacket frock.
Those short sleeves are on her jacket. Note
how simple in line her dress is. Black and
white is being worn by our smartest stars.
ORGANDIE and bows again! It looks
like a screen fad. Organdie is a nice
contrast for black satin, too, as worn here
by Loretta Young.
WHITE with a color— and what better than
red? This silk sports frock Lilian Bond is
wearing, below, lets a red bordered collar serve
for sleeves. That surplice fold is clever. Note the
red pocket and sash — also the straight silhouette.
Nice outfit.
Ny/OU can hardly tell whether a dress is knitted or
' crocheted these days. Crochet stitch is up in
fashion and this sports frock Lilian Bend wears is a
smart example of it. Black and white ccntrast
is used effectively.
Personal Appearance
65
? <r
Lri G
awg
? V
la
G
ets
White Studio
Can this be the same girl who is putting on the hot-
cha-cha look to Fredric March in "Dr. Jekyll, etc."
on the opposite page? "Nope," you say. And you're
ready to lay your last, tattered, gilt-edged bond on that
GG
The startling rise of
Miriam Hopkins from a
scrawny ingenue to a
girl who's got everything
By A I Hughes
AS ONE who knew her when, during the days of her
mere ingenuehood — and there never was a merer
one! — I'm convinced that '" Li'l Gawgia's" sudden
flare-up and flame has been one of the most astonish-
ing in picture history.
If you were to ask me — please be a pal, and do! — who has
made the longest, fastest strides in talkies during the past year,
I shouldn't think for a minute of the bigger and gaudier shots.
I'd pass by Gable and Robinson and Cagney, fine though
they are, and I'd vote, in a loud, hog-calling, carrying voice for
Miriam Hopkins!
Hardly a year ago — with all due respect to the darling —
Miriam Hopkins was just another rather skinny blonde child
mugging for the camera. As one old film-hound to another,
I couldn't see that she had any more screen future than an
Easter bunny.
Then, almost overnight, the moth turned butterfly. Today
she is a lovely, voluptuous and practically vicious picture-
stealer — a dangerous threat to any star in whose celluloid
opera she appears. Don't be surprised if by the end of 1932 her
name shines in bigger and brighter lights. She's come fast and
she'll go far.
Why? Miriam Hopkins suddenly, miraculously acquired
glamour — that mysterious, magnificent quality that is vital to
outstanding screen success.
And how? Lawsy me, chile, if I knew I'd be getting five
grand a week from the movie moguls instead of crouching over
a one-lunged typewriter yarning about the darlings of the gods!
BUT get it she did — and if we poke about in the minor drama
of hex young life before fame's lightning struck her pretty
blonde noodle, we may find a couple of clues.
It's worth it. Anybody who can come as close as " Gawgia "
did to yanking a picture out from under Maurice Chevalier in
"The Smiling Lieutenant'' is worth a right smart spell under
any microscope. If we could find the answer, you and I and
Maisie and Joe could rattle out to Hollywood in the old Ford
and collect our million.
I first clapped an eye on Miriam Hopkins in the first great
Irving Berlin girl show, " The Music Box Revue." But I didn't
know it, really. For Miriam, just up from Savannah with an
accent you could cut with a butter-knife, was a chorus girl.
No — sort of a super-chorine, for in that show one song number
was trilled by "Eight Tittle Notes" — eight delectable blondies
whose names were Do, Re, Mi, Fa, Sol, La, Ti and Do.
Whether " Gawgia " was Mi or Fa, or one of the two Do sisters,
I can't tell— but now that she's in the big picture money,
I have a hunch she was one of the Do girls.
She was pretty, and cunnin', and about nineteen — and if
she was a bit on the thin side, why, the bald-headed row liked
'em slender in '22!
ijlamou
It wasn't long till Miriam battled her way
from the chorus into the legitimate drammer,
and her life as a mere ingenue began on Broad-
way.
Never shall I forget, mates, the time I saw
her make her party bow in her first big part.
Manager Arch Selwyn had imported a trans-
lation from the German called "The Garden
of Eden," and for those modest days — back
in '25 or '26 — it was a right snappy piece!
The leading feminine part was that of a
modern girl, a little in the daring line, and the
climax of Act II — the sensational sock that was
to set the customers to rolling and howling in
the aisles — was when the young lady tore off
most of her clothes as a gesture of defiance to
the villain, and stood before him in her teddy-
bear (or whatever the darned things were
then) and her armor of girlish innocence.
That was Miriam's part. I, as a critic,
squatted pop-eyed in an aisle seat. The
moment came. "Gawgia" ripped off her
evening gown, and what did the great revela-
tion reveal? Why, a skinny, little tousle-head
with undeveloped shoulders and arms and
positively scrawny legs. The great moment
was a total dud — the luscious heroine stood
revealed as a bony hop-pole, and with no
more allure.
I relate this shuddering episode because it
furnishes the key-note to the Miriam Hopkins
that was. No appeal, no richness — in short, no
glamour! I'd have bet my studs that "Gaw-
gia" had no future at all in show business.
"The Garden of Eden" died the quick, pain-
ful death of a perfect flopperino on Broadway
— and Miriam Hopkins was off on her trying
career as a flop actress!
OH, she got a good part now and then, and
played it well enough. But shows died un-
der her and people had a dismal way of saying,
"Oh, yes — Miriam Hopkins. Pretty little
thing! Darling accent! " That about let little
Miriam out, in her pre-glamour days. Com-
petent enough, pretty enough — butnopeppo,
none of the old dash and derring do, no spiz-
zerincktum, none of the stuff that turns a
diffident daisy into a full-blown rose.
I used to see her at parties, now and then,
and we laughed and joked together over other
times in the theater. And when I was on my
way home alone I used to muse on the strange
Fate that put a tousle-headed, little blonde
Southe'n gyurl into the theater without the
natural equipment to make her shine above a
faint, feeble glow. How much labor I might
have saved my muser, in the face of the
Hopkins of today!
So she went her very modest, rather unsuc-
cessful way. She married Austin Parker, the
writer (they've separated since, by the way).
And then the talkies called — as they have had
a way of doing since 1928, The Year of the
Big Microphone Blight, as we old geezers
call it.
With no fuss, no feathers and no praise,
"Li'l Gawgia" debutted in Paramount's
"Fast and -Loose," — born on Long Island and
died all over the nation.
I cast a bilious eye upon it — and so did a
good many others. [ please turn to page 1 10 ]
MM
But yes, indeedy, that conventional baby on the other page is none
other than Miriam Hopkins as she appeared a few years ago on
the New York stage, shortly after she had said good-bye to the
peach blossoms of Savannah, Ga.
67
He Won't
ue
By Sara
Ha in ilt on
WALTER HUSTON was
at a famous banquet in
New York not so long
ago and his turn to speak
came directly after a famous aviator's.
The aviator had succeeded in flying
over the greater part of the globe and
had done a wonderful job.
J le spoke at length on his achieve-
ment and the applause at the end of his speech was deafening.
Then Huston's turn came. He stood there, head a little on
one side — you know how he does — and looked about. Finally
he said, "I'm out of place here. I'm an actor. Xot a doer.
I'm a man with a talent. A talent which was not even achieved.
It was given to me. I am a man who merely gives imitations of
men who do things. Who achieve things. In this world."
And darned if he didn't sit down. It simply stumped them.
For Walter Huston was one of the most famous men in New
York. Acclaimed by men like George Cohan, Eugene O'Xeill
and every New York critic.
Only last month Ring Lardner was telling a friend about
Huston's speech. "I'll never forget
the amazing simplicity of that
statement," Lardner said. "It left
us all thinking."
But here's the funny thing about
it. Walter Huston didn't make that
speech through any sense of modesty.
I doubt if he has five cents worth of
modesty along those lines. Neither
did he make it for effect.
No. Walter Huston saw the truth,
knew the truth, and spoke the truth.
He's an actor. He imitates other
men's deeds, he says other men's
words, thinks other men's thoughts.
That's his job.
And you can beat the drums, and
blow the bugles and throw the con-
fetti all you want.
You're not fooling Huston. You
might as well take your confetti and
go home. Nobody is clouding the
issue for this man.
He wants the truth of everything.
Not just what he thinks. He'd be the
first to tell you that isn't always the
truth of things. Or the way you
think, either. It's what actually is
true.
Especially about the characters he
portrays.
GEORGE COHAN was talking to
a friend about Huston." Grandest
guy I ever met," Cohan said, "but
say, did you ever try to get Huston
to do a thing he didn*t think was the
right way? About playing a char-
acter, I mean. I insisted that Walter
change a certain character around a
bit. Add a little more theatrical
color, and so on. Huston listened
carefully to. everything I said. 'Sure,
George,'' Walter said. ' I'll try it that
way.' And he did. That very night.
But the next night, darned if he
didn't go right back to playing it the
way he saw was true.
"No words. No arguments. That's
Huston."
He's an athlete, this Huston.
Swims, boxes; swell hockey player.
68
But try to get Walter
Huston to do anything
he doesn't want to do
Can do most anything they ask him
to do along those lines.
Even to cracking long South
American whips.
But he hadn't ridden much when
he came to Hollywood to play the
role of Trampas in "The Virginian."
And the cowhands didn't feel too
good about one of these New York
stage actors coming out to play a cowboy. And then, in one
of his very first scenes, he was to ride a horse to the top of
the hill, singing and puffing a cigarette as he rode.
At the top of the hill he was to turn the horse quickly about
and go on with his singing.
WELL, he made the hill all right, puffing and singing,
but at the top he swung his horse too abruptly and the
horse dropped.
Still in the saddle, never missing a note or a puff, or showing
the least concern, he got his horse to his feet and nonchalantly
finished the scene.
And so easy, so natural was the
whole thing, that they shot it exactly
as it happened.
The director was amazed. "How
come you didn't forget to sing, or
fall off or something? " he asked.
Walter just looked at him. " Why,
a fellow like Trampas wouldn't have
done any of those things, would he?' '
he asked.
You see, as usual, he was playing
his character true. From the inside
out. Not the outside in. He was
Trampas.
He reacted exactly as Trampas
would have.
And you never saw as many horse-
hair belts as those cowboys kept
making for "this here New York
feller."
He was playing golf with a friend
just before he played the district
attorney in "The Criminal Code."
Finally the friend stopped and said,
"For God's sake, Huston, quit bark-
ing at me. You're not a district
attorney yet."
Hin'
"Where we ought to be, those of us
who have, is on our knees before God
Almighty, in thanks"
a Canadian. Born
^in Toronto. He joined his father
in the contracting business, but he
soon saw he wasn't fitted for it. So
he went on the stage. Playing in
stock and vaudeville.
And finally made the Great White
Way even whiter.
We were talking the other day
about an actor that had put up a row
about his salarv.
His S2,000 or $2,500 a week wasn't
enough.
"You know," Huston said, his
head on one side and an earnest light
in his gray eyes, "here we are, a
bunch of actors in Hollywood. Sit-
ting on top. While all about us is
grief. Want. Depression. Where
we ought to be, those of us who have,
is on our knees before God Almighty.
In thanks."
Now how do vou figure a guy like
that?
f\LD Maestro Ernst Lubitsch and cigar view
^-^the set from atop the biggest camera crane
ever built. This amazing toy weighs many tons,
can be managed by the pressure of a finger and
was used for the trick shots in "The Man I. Killed"
69
It's All Done With S
cissors
n\l;ita Hari") begins with Greta Garbo
...mcing, very badly indeed, in leggings and
something that looks like a pillow on her
wiggling rear. — Time.
"' I 'HEY (the stars) find they can have both
*■ babies and a career simultaneously; their
public is sticking. When fans approve of an
actress they imitate her, so watch the country's
birth rate from now on. It's going up." —
Billie Dove.
"■"THERE was a time when everything
*■ thrilled me. . . . But no longer can I, for
example, go downtown to a store shopping
and lose myself in the throng — and you'll
never know what it means to be deprived of a
pleasure like that." — Norma Talmadge.
T\ 7"E believe, with the correct casting,
** Cagney's popularity could equal or over-
run Gable's this 1932. The lad isn't tall,
isn't handsome, isn't romantic. He's cute, and
he has a grand sense of humor, and he's one
swell actor. — N. Y. News.
'"THE chronic film picture of Mickey Mouse
■*■ shows unmistakable symptoms of a para-
noidical dementia on the part of his creator.
A diagnosis of the thin-legged, hydrocephalic,
astigmatic and neurasthenic Mickey Mouse
proves in the first place troubles of feeling
in the sphere of vision and hearing, an ailment
commonly known as the delusion of the senses.
— Dcr Qtierscknitt.
"A FTER ten years in pictures, the best years
•* *-of my youth, I feel that screen acting is
stifling to a manof ambition." — RamonNovarro.
"OEOPLE engaged in motion
■*- picture production work as
hard as those in any industry
in America. In about seven out
of ten cases they work longer
hours than do those employed
in any other line. More actual
creative effort is required than
in any other profession or busi-
ness. More careful, scientific
regulation of habits of eating,
sleeping, exercise and recreation
is required than in almost any
field imaginable.
I speak as a trained news-
paper observer who has watched
the operations incident to the
production of motion pictures
for more than ten years right
here in Southern California. I
speak as one who has written
originals and scenarios, pro-
duced and directed pictures,
and who has equal opportuni-
ties today with anyone to ob-
serve the routine of every studio
in Hollywood. — Leo. Meehan in
Motion Picture Herald.
TT is not surprising that the
-*-movies used to inspire all the
pretty waitresses of Keokuk
and Kankakee to hie for Holly-
wood. Did they not recognize
their types in many of the stars
and featured players of a few
years agone? Talking pictures
probably have done more to
stabilize the restaurant busi-
ness in the Middle West than
anything else in recent years.
When the waitress hears Ruth
70
Chatterton or Ann Harding she recognizes a
type she cannot imitate and sticks to her job.
— L. A. Tiiiu v.
JOAN" BENNETT: The stars portend no
J marriage for her in 1932, nor in the coming
few years. Nor is there, in 1932, any sign of an
important romance. — Darcos, Hollywood's For-
tune Tiller.
"/"^HAPLIN, born a cockney in a city of
^'caste, is the one person who can see
nothing funny in his own antics. Too keenly
has this debonair ornament of society felt
his part."- — .V. Y. Times Magazine.
'THE legend of Garbo is greater than she is.
■*- That is the difference between Garbo of yore,
who was great enough to start the legend, and
Garbo today. Her hold on her public, or on a
new public caught up in the legend, is, of
course, unquestioned, but, as I have hinted
before, there will come a time when even the
legend will not be able to carry her through.
She is still fascinating enough as a screen per-
sonality, but there is not enough technical
variety in sight to overcome the monotonous
beat of her voice. — John S. Cohen, Jr., in the
New York Sun.
"T CONSENTED to roles that I knew
*■ couldn't augment my draw at the box-
office. I accepted directors who had never
worked on a picture before, permitting the
studio to cut down on expenditure on films
already sold to exhibitors. Believing promises
of great treatment in future films, I agreed to
play parts of secondary importance." — Buddy
Rogers.
Director: "Spit out your chewing gum"
CVLVIA SIDNEY is a distinctly new type
^as a screen star. Pint sized, cute, her little
grin is by no means all that she has. She is an
excellent little actress, in dialogue as well as
out. Dark, sensual, she may be the proper
relief for a public fed up on beautiful, blonde-
white goddesses. — John S. Cohen, Jr., in the
New York Sun.
(CONSTANCE BENNETT is afraid of any
^— '<;«</ all kinds of insects! That, I believe, is
an informative sentence that will leave the
civilized world literally gasping for its breath.
She manages to keep under admirable control
a stupendously emotional nature which when
aggravated takes vent in an oratorical form
rather than by gesticulations. — Douglas Fair-
banks, Jr., in Vanity Fair.
"D V an axiom of the stage and screen, which
-^asserts that when a villain makes an
audience hate him he is a great actor, young
Jackie Searl can be judged a capable per-
former, despite his years. Reports from
theater men who have shown "Skippy,"
"Tom Sawyer," "Huckleberry Finn" and
others in which Jackie has been the tattletale,
cry-baby little pest, state that spectators, in
lobby talk while leaving the theater, have
voiced their desires to give that child a good,
sound spanking. — Tlie New York Evening
Post.
"KyfOYIE studios in Hollywood are now trying
■'•'•'■to regulate love. If the studio doesn't
like the girl their big male bet is running
around with, they threaten to break his con-
tract.—.V. ]'. News.
'"THERE are only two pawn-
■*- shops in Hollywood. And
neither will give an actor a
penny on his scrapbook. — N.
Y. A
'"Y'OU know how it is. There
*■ are some things people
just don't care for — pet aver-
sions like spinach, sunburn,
girls who giggle, sand in jour
shoes. Me, I just don't care
for Hollywood. I'm trying to
be honest about it, but no-
body will understand." — Bar-
bara Stanwyck.
"T'LL have to make another
■^million to get in the state of
mind where I can consider I
can afford to get married
again." — Tom Mix.
NXET Gloria, one of our fore-
■*■ most stars, who proved in
"The Trespasser" that she
could handle the heavier meller
and make herself mighty popu-
lar in the doing, continues to
fiddle and twiddle while Rome
(her career) burns. — The Chi-
cago American.
"Y"ET Santa Claus, I fear,
■*■ in an effort to get "Sooky"
to us as a Christmas toy, neg-
lected to wind it so that it
would run as well as it might
have. "Sooky," you see, will
please the kids, whereas "Skip-
py" and "Tom Sawyer" pleased
all ages. — The New York Times.
[ PLEASE TURN TO PAGE 98 ]
Lo
retta
G
oes
0
riental
^?n**
And here's the finished job. Good work,
Perc Westmore. Loretta Young could fool
us into thinking she was the mandarin's
daughter
Intimate portraits of a smart, young, American girl
being turned into a Chinese woman. Working
time, two hours! Discomfiture, pretty heavy!
Patience —a lot of that ! Perc Westmore, who de-
lights in making people what they aren't, does the
skilful work on Loretta Young
The first step is accomplished by pulling the skin
back from Loretta's eyes and pasting it down firmly
with spirit gum and fish skin —not adhesive tape.
The fish skin is then covered by make-up. Lips
are made larger, eyes and nose are lined. The
finished job might make you think Loretta was
Anna May Wong
And why didn't a real Chinese girl get the part?
Well, Loretta is under contract to First National,
where "The Hatchet Man" is being made. Her
tests were as excellent as the make-up, so they
thought you wouldn't know the difference. Loretta
has only to worry about the accent
71
Fryer
72
"YI7HAT, Mr. Warner, you're going to ask me to
take a salary reduction?" asks George Arliss.
"Haven't you heard that my father was born in Edin-
burgh and that the English income tax is very high?"
Photoplay Magazine for March, 1932
73
It's the best short-cut
to loveliness 1 know,
MRS. PIERPONT MORGAN HAMILTON
• Mrs. Hamilton is the wife of a grandson
of the late J. Pierpont Morgan . . . Her
evening frock is by Bergdorf-Goodman,
her suit and hat from Saks-Fifth Avenue.
• "GOOD LOOKS are an asset
in business as in matrimony,"
says Mrs. Pierpont Morgan
Hamilton. A gifted hostess and
a brilliant young business
woman beside, she cleverly
solves the problem of looking
always fresh and charming.
"In my office," she says, "I
keep just the same beauty kit I
have on my dressing table at
home — Pond's Two Creams,
Tissues, Skin Freshener.
"It doesn't take a minute to
cleanse your skin thoroughly
with Cold Cream, wipe it off
with Tissues, pat on Skin Fresh-
ener—then a touch of Vanish-
ing Cream gives the perfect
base for powder . . . All traces
of toil have been removed —
your skin looks fresh and alive."
"I've no patience with women
who don't look their best when
it's so simple to do," says Mrs.
Hamilton with her charming
smile . . . "Pond's is the best
short-cut to loveliness I know!"
• FOUR THINGS your skin
must have to keep it lovely,
Cleansing and Lubricating . . .
Stimulating . . . Protecting.
1 — For immaculate cleansing gen-
erously apply Pond's Cold Cream
several times during the day and
always after exposure. Wait a few
moments to let the fine oils pene-
trate every pore and float the dirt
to the surface. Wipe away with
Pond's Cleansing Tissues, softer,
more absorbent . . . White or peach.
2 — Pat briskly with Skin Freshener
to tone and stimulate . . . close and
gradually refine the pores . . . keep
contours fresh and young.
3 — Smooth on a dainty film of
Pond's Vanishing Cream always
before you powder, to protect your
POND S TWO CREAMS • CLEANSING TISSUES • SKIN FRESHENER
skin and make the powder go on
evenly and last longer. It dis-
guises blemishes and gives a vel-
vety finish. Use this Vanishing
Cream wherever you powder —
arms, shoulders, neck . . . and to
keep your hands soft and white.
4 — At bedtime, always repeat the
Cold Cream and Tissues cleans-
ing to remove the day's accumu-
lation of grime . . . then, smooth
on a little fresh Cold Cream to
soften and lubricate the skin —
leaving it on through the night.
SEND lOff FOR PONDS FOUR PREPARATIONS
pond's extract company, Dept. C 114 Hudson Street, New York City
Name_
Streets
_State_
Copyright. 1932. Pond's Extract Company
Tuneinon Pond's every Friday 9:30 P. 31., E.S. T. Leo Reisman and his Orchestra and guest artist. WE A F and N. B. C. Network
74
Photoplay Magazine for March, 1932
«%*V NOEL
FRANCIS
In, 22
Lux
Photoplay Magazine for March, 1932
75
V)«n 26
Jin 28'
//
LOIS
WtLSON
ANITA
STEWART
Toilet Soap
€tJ&&€l*7
Ihey know
the secret of keeping
Youthful Charm
THE screen stars have no fear of
growing old ! Birthdays have no
terror for them! They know the
secret of keeping youthful freshness
right through the years!
"Guard your complexion above
everything else," they will advise
you. And even the youngest of them
will give their own peach-bloom
skin the most zealous regular care.
"We use Lux Toilet Soap," they
confide. Those in their twenties —
those in their thirties — those in their
forties — keep their skin youthfully
aglow with this fragrant white soap !
y out of io Screen Stars use it
Of the 694 important Hollywood ac-
tresses, including all stars, 686 use
Lux Toilet Soap. Their preference is
so well known it has been made the
official soap for dressing rooms in
all the great film studios.
You will want to guard your com-
plexion this wise, sure way!
IO*
I
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED PEOM PAGE 3°
"Dear Mr. Dunn. I saw vou in 'Bad
Girl,' 'Over the Hill' and 'Dance
Team' and I think you are swell.
Will you please send me a picture of
yourself for my collection?" To the
average star, fan mail is one of the
necessary evils of film fame, but to
Jimmie Dunn it is all wildly exciting
and sends little thrills of delight up
and down his spine. Jimmie's just
that new at the game
TX 1910. even before he worked as a comedian
for the old Essanay Company, Wallace Beery
was tired from the chorus of a Raymond
Hitchcock revue. Now he is starring in "The
Champ" which opened at the same Broadway
theater from which he was booted.
POKIXXK GRIFFITH'S vacation day- are
^■^over, for the time at least. She has been
in London with her husband, Walter More
who is manager of a studio there. Now she-
is going to be starred in some English pictures.
OVER at the Brown Derby they
were telling the story about the
movie leading man who was nasty to
the heavy in one of his pictures.
Finally the heavy backed him up
against a set.
"Listen," he warned, "either you
treat me differently or when we come
to that big fight scene I'll have my
double beat the life out of your
double."
"pRIKXDS who know Elsie Janis well, and
have been guests at her home outside of New
York, say that Elsie, who admits to 42, was
never so happy in her life as she is with her 26-
year-old husband, Gilbert Wilson.
Gilbert is a fine-looking young fellow, who
has tried his luck at various undertakings, in-
cluding motion picture acting. Elsie says that
from now on he will be her business manager.
"I must have a business manager," she says,
"and Gilbert has the making of a fine bu-iness
man. We all need companionship, and Gilbert
is the finest companion I ever knew. "
We congratulate Mr. Wilson and wish Elsie
all the luck and happiness she deserves, which
is more than one human being in a million
ever gets.
JOAN CRAWFORD and Doug Fair-
banks, Jr., have a new answer to
all those asking about that expected
child. They've been asked so many
times when it is expected that they
now answer with, "It's entirely im-
possible to know when it will come.
You see, we don't know yet which
one will have it."
And then do they howl.
TX)LA NEGRI has a grand sense of humor.
While she was critically ill she asked bet
secretary in case of her death to ship her body
back to Poland on any boat flying the Polish
flag. The secretary said that it was doubtful
if they could find a ship of that sort. "In
that case," whispered Pola, "my death will
have to be postponed until we can find one."
V\ 7HTX.E Wallace Beery was on a visit to
New York the reporters kept pestering
him about Greta Garbo, who works in the
same studio, Metro-Goldwyn-Mayer. Beery
said that although once when Garbo was
not feeling so well her manager arranged for
her to spend three weeks at Beery''* cabin in
the High Sierras, they had never met. What
a big world a studio is.
[ PLEASE TIEN TO PAGE 78 ]
How to choke a lady in one easy lesson. Movie heroes have slapped their
leading ladies and knocked them down but Director Marcel Varnel intro-
duces something new and different in "The Silent Witness." Here he is
showing Bramwell Fletcher just how to place his fingers on Greta Nissen's
throat. But don't you try it on the girl friend. Remember Greta gets a
lot of money for playing this scene
■6
Photoplay Magazine for March, 1932
Ju!Tys !,houg,ht y°u had to pay
a lot for a dentifrice to have white
teeth and hea hhy gums. I believed
it so firmly that for years I had
been buying one of the most expen-
se tooth pastes on the marked
h~ r,ecen^' m°ney hasn't
been so plentiful with us. I have
had to look for bargains in every
thmg but I still persisted in paJ,"
mg a lot for tooth paste. P }
wasn?thn.P0imed0Utt°methat't
wasn t necessary any more to pay
so much for tooth paste-that I
was losing a good chance to econo-
mizem that direction. After a lot
of persuading, I took his advice.
at 2L AgVr iStCrine Tooth Pa§te
at 2^. And I'm going to let you in
on a secret-,/^'* enough to pay for
John steethareaswlnteandgleam-
ng as they ever were. My teeth
Wk fine and my gums fe^l fine
And even Junior speaks about the
tooats,rTt1after-tastethisfam°-
tooth paste leaves in the mouth.
1 ve been convinced — VOu
won t catch me paying 50^ for a
tooth paste again."
tooAe^terine uPe°PIe Put this
tooth paste on the market, only
sho^d JF™ °fK°raI Vgiene'stud J
make » ^u what WaS needed to
make a tooth paste really good
Now four million critical men and
women have discarded older a"d
costher favorites for this modern
tooth paste at the modern price
remarkl? ^ PaSte ™<* *»
remarkable effectiveness to a spe-
t e hPfif^ agent' This <*^»
teeth faster and more thoroughly
than ordinary dentifrices do It
tains3 rtraCe°ftartar' tobacco
stains decay, or any discoloration,
let it ,s so scientifically gentle in
H4 CUCuAtOut
Some of the things you
can buy with that $3
you save
Stockings
Gloves
Handkerchiefs
A Scarf
A House Dress
These are just a few su^es-
tionsfor soendi ng th e^o„
save yearly by using a 250
tube of Xwterine Toothpaste
«m?nth instead of den tifrices
costing twice that amount
■
its action that it cannot possibly
damage the most delicat? toot£
Our Economies Save You
Money
^gh quality dentifrice at an extra-
emcient manufacturing methods
known, and huge demand permits
scale. All these economies we nass
on to you. Lambert Pharm^clFH
^p*xa*cfcfiu4f?aZti
t?
i
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PAGE 76 ]
And if just one more time somebody says, "The show must go on," we're
going to reserve a nice cosy padded cell for ourself. When Jean Harlow
was making personal appearances in Pittsburgh and suffered an attack of
intestinal flu she insisted that her father, Marino Bello, cany her to the
edge of the stage
ASK Blanche Sweet which she thinks is the
■*■ "vainer sex, men or women, and she'll tell
you men, and prove it by an experience she
had recently.
Blanche is doing an act in vaudeville and the
routine is for the stage to be darkened just
after the preceding act finishes, and, while
the lights are out, her piano is rolled on, then
she comes out in a brilliant spotlight.
While playing in Canada recently she got
her cue from the orchestra leader and made
her entrance, only to find no piano there. She
was panic-stricken at first, then started to
ad lih and under her breath kept hollering
back stage, "Where is my piano?"
The audience got wise, so she told them she
was minus a piano and she'd have to go back
stage and find out what the trouble was. She
dashed back and yelled to the stage hand,
"WHERE'S iMY PIANO?" To which he re-
plied :
"It's the electrician's fault. He didn't
darken the stage after that last act was off
and do you think I'm going out there in front
of all those people with my overalls on?"
It is reported Blanche nearly collapsed.
78
"LITRE'S a gem of a Skippy-Sooky Story
from the New Yorker:
The parents of a young son who had been
deeply moved by the film "Skippy" took him,
as a Christmas surprise, to the sequel to that
picture, called "Sooky." On the way home
afterward, the youth was enthusiastic about
"Sooky." "Bettcr'n 'Skippy,' even," he ob-
served. "It ends happier." "But it doesn't
end happier, James." said his mother. "Doesn't
Sooky's mother die?" "Oh, sure." said James,
"but in 'Skippy' the dog died."
F" AY JOHNSON has had her nose
a bit here and there. It looks tine
we never found any fault with the
ha^ been wearing since she was born
Swanson once considered fixing hers
but before she made up her mind to
plastic surgeon the order the public
rave about her beauty and she took no
changed
but then
one she
Gloria
up a bit,
give the
began to
chances.
rPHE veiled mystery surrounding the baby
that Constance Bennett — pardon — The
Marquise Henri de la Falaise de la Coudray,
and former wife of Phil Plant, brought back
from Europe a few years ago was dissipated
in a Hollywood court recently.
In legally adopting the three-year-old boy,
Mi-s Bennett explained that he is the son of
her cousin, who, with her husband, was killed
in a motor accident in London two years ago.
The papers in the case, as is usual in all
cases of adoption in Los Angeles, were sealed
by the court, and the newspapers were not
permitted to examine them.
"VT'S. SIR, there's no two ways about it;
the old town's changing. It's no longer quite
as mad as a hatter. Slowly but surely it's
gaining sense and balance.
A few years ago, for instance, a star as
brilliant as Clark Gable, would have set out
with all his new found riches, to dazzle the
town with 15 room mansions, swanky cars,
yachts, scandals and parties.
Listen to Gable. "I own two cars which I
paid cash for. I rent an apartment. Just for
six months at a time and not a year. I don't
even own furniture. I'm saving my money."
T\ 7HILE in New York, Greta Garbo suffered
terribly from insomnia, and often at five
o'clock in the morning she would give up t he-
effort to sleep and go out for a long walk, as
it was only at that time she could be sure of
eluding reporters and camera men.
[ PLEASE TURN TO PACE 80 ]
"Why, Mrs. Collins, that baby should
be in the movies," said the neighbors
of this child's mother. So Mrs. Col-
lins and Cora Sue left their home in
West Virginia and came to Hollywood.
The mother sold stockings from house
to house while she was taking Cora
Sue around to the studios. Then the
baby was picked by Universal to play
in "The Unexpected Father" and given
a long term contract. But that only
happens once in every ten thousand
Photoplay Magazine for March, 1932
79
V
STOCKING
S-T-R-A-I-N
comes when you cross
knees, bend, stretch, pull
your garters too tight. If
elasticity has been de-
stroyed, silk threads
break, starting ruinous
runs.
J
§
A
STOP
THOSE
RUNS
Preserve the ELASTICITY*
that makes stockings WEAR
DO YOU KNOW what causes those ruinous runs?
New stockings are elastic — they give under strain,
stretch and then spring back again. When this pre-
cious elasticity is destroyed, the silk threads, instead
of giving, break under strain. At the least provocation!
It is then that runs start!
That is why Lux is made to preserve the elasticity
that makes the sheerest stockings really wear.
The Lux Way to make stockings last twice as long
J5 >'••».
am
■B
■
^m
Hi
Wash after EACH wearing. Perspira-
tion left in stockings or underthings
will actually rot the silk.
Don't rub with cake soap. It destroys
elasticity, making the silk lifeless, apt
to break into runs. With Lux there's
no rubbing. Even stubborn spots come
out perfectly if you gently press in a
few dry Lux diamonds.
Don't use too-warm ivater — this fades
color. With Lux you use lukewarm
water. No hot water needed. The tiny
Lux diamonds — so sheer you can
actually read through them — dissolve
twice as fast, even in water at wrist
temperature!
Wash this 2-minute way:
1 1 teaspoon of Lux for each pair of
stockings.
2 Add lukewarm water to Lux,
squeeze the gentle suds through
stockings, rinse well.
Anything safe in water is just as safe
in Lux.
Lux for stockings —
2 minutes a day
keeps them like new
Cal York's Monthly Broadcast from Hollywood
QTOED FROM l'V
TJTSRE i> ncw>. Josef Von Sternberg actually
decided to get a hair cut. After all these
years.
Hut the trouble wa>. Josef Von couldn't find
the time what with Dietriching and so on.
So he summoned a barber to perform the
operation on the set between scenes for
"Shanghai Express. "
Every time he had a free moment the barber
sneaked up and snipped a lock.
He began snipping at nine in the morning
and at three in the afternoon the last lock
was sheared.
And the property man is still picking up
Sternbergish locks all over the expansive Para-
mount lot.
These geniuses and near geniu-i-.
TWO nights before Christmas Marie
Dressler's telephone rang.
"Anderson, Alabama, calling, M iss Dressier,"
the Butler reported.
A little girl's voice said, "Is this really Marie
Dressier? Oh, thank you. I just wanted to
call you up and wish you a Merry Christmas
because you are my favorite actress. Wait
a moment so you can talk to my little sister."
And little sister told Marie that the two,
both under ten, had asked just one present
from Santa C'lau-: this opportunity to talk to
her.
.Mother had agreed and told Santa Clau> he
needn't bring any other presents.
TS JOAX BENNETT laughing heartily these
1 days?
When this blonde beauty first decided to
try films, a good friend tried to get her in
and she was willing to sign up for S250 per
week on a six months' contract.
Three studios would not even consent to
give her a test
More recently two of the studios paid her
more than S2,500 per week. And Dorothy
Jordan, who was a dancing girl at Fox during
the heyday of musicals at $75 per week, came
back to the studio as a dramatic actress later
at S750 per week.
T^NID you know that James Dunn played as
■^^an extra in a mob for the Paramount
Studio in the East? Almost every major
company gave him a screen test, and nobody
wanted him.
T"\URIXG his personal appearance tour
"^^Jimmie Dunn told a story about his first
meeting with John Barn-more. Jimmie was a
"I guess I can sit in this chair if I like," Mary Ann Elizabeth Brown said
to the prop boy who told her that place belonged to the star. Joe E. Brown
is her daddy and if he gets dignified she'll tell everybody how he acts
around the house, always clowning and using up those gags he should be
saving for the camera
80
This month's most romantic Mexican
wedding was that of Una Merkel
'y'all know that U'l honey chile from
the South) and Ronald L. Burla. Una
once said she'd "nevah, nevah marry
an actor, no suh," and she has kept
her word. Burla is an aeronautic en-
gineer. Una is one of the first string
screen comediennes, but she really
thinks marriage is a pretty serious
business
young actor with plenty of self-assurance, and
the meeting took place after a performance in
which Dunn appeared.
"Excuse me, Mr. Barrymore," he said. "I
saw you watching me act tonight. I have
been on the stage for six years, and I was
wondering if there is anything you can do to
help me."
Barrymore looked at the young fellow and
said gravely:
"That depends upon whether you still want
to become an actor. "
TT seems pretty certain that wedding bells
will soon ring for James (Bad Girl) Dunn and
June Knight.
She was working on the coast until Zieg-
feld saw her in "Girl Crazy," and she is
slated to appear in the next New York edition
of the Follies.
^ASU PITTS, charging desertion in 1026. is
■^suing her handsome husband, Tom Gallery,
for divorce.
A /fAE CLARKE is wondering what is going
to happen to her next!
In "Front Page" she jumped out the window
and killed herself.
In "Waterloo Bridge" she was blown up by
a bomb.
In "Three Wise Girls" she died of poison.
In "Impatient Maiden" she is operated on
right before the camera for appendicitis.
"At least they let me live. I don't want to
be typed as a 'dead' one. It might prove
fatal," she told us.
[ PLEASE TURX TO PAGE 82 ]
u
Photoplay Magazine for March, 1932
ne av ens !
j^uddy must have
81
a girl l"
NO — you grown-ups are wrong again.
I'm brushin' my teeth 'cause Ma
finally got me some toothpaste I like to
use. And if you don't think it's keen —
just try some yourself. It tastes swell — and
I think a feller ought to have a right to do
some things theway he likes to do 'em. Ma
was complainin' the other day to Doctor
Brown about me not brushin' my teeth
reg'lar and he told her maybe she hadn't
given me a toothpaste I like to use, and
after all, he said, what a toothpaste is for
is to clean teeth, and he said Colgate's
would do that aswell as anything he knew.
He told her she couldn't go wrong buyin'
a toothpaste more people use than any
other kind. An'. . . I'll tell ya a secret Pa
don't know . . . mebbe y' guessed right
about the girl. Ma says I kin take her to
the movies tonight with the quarter she
saved by buyin' Colgate's."
this seal signifies that the composition of the product has been
submitted to the Council on Dental Therapeutics of the
American Dental Association — and that the claims have
been found acceptabli to the Council.
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PACE 80]
r
No, no, not another one. We can't bear it. Those long lashes, that sloe-
eyed look, those tip-tilted eyebrows, that hair brushed off the forehead.
Whom does she make you think of? Shh, don't say it. Sari Maritza has
a glamorous background. Her mother is Austrian, father English. She
was born in China and just before she came to Hollywood and signed her
Paramount contract her name was linked with Chaplin's in Europe, but
(whisper) it might have been just publicity. You'll be seeing her soon
TT isn't every divorced couple who remain
good friends throughout the years, but Tom
Moore and Alice Joyce are still pals to the
e tent of doing a vaudeville tour together, and,
what's better, the new Mrs. Tom Moore and
John Regan, husband of Alice, don't seem to
mind it a bit.
A X annual announcement from Ziegfeld de-
signing the annual model of the American
girl is as sure as the annual income tax.
According to him, the 1932 American girl
should be blonde, five feet, six inches in height;
one hundred eighteen pounds in weight, fuller
curves than last year, and less stream lines.
Ho hum.
AyfF.T Constance Cummings in a business
office without hat or coat but wearing
thick black kid gloves. She noticed our look
of amazement.
"I don't bite my nails but I bite the skin
from around my fingers. I am wearing gloves
every moment until I break the habit!" she
announced firmly.
A beauty hint for you, ladies, who boast
nerves.
"CATE! Ah, how difficult it is to understand
it. Tyrone Power's last scene, before he
passed from among us. was the deathbed scene
as the patriarch in "The Miracle Man." He
left the set to enact the same scenes — his last —
in life.
Hobart Bosworth. intimate friend of Tyrone
Power since 1886, replaced him. They started
together in the old "Augustin Daly" stock
company in New York. Shared dressing
rooms. And this is the third time Bosworth
has replaced his friend. Twice before when
illness hit Power.
TT may not make a bit of difference to vou,
Xbut—
Mary Astor wears horn-rimmed spectacles
off the screen.
Robert Montgomery >eldom wears a neck-
tie.
Arthur Brisbane once tired Jack Barrymore
from a newspaper.
Wally Beery wears a huge diamond ring on
his third finger but wears no garters.
Walter Huston is a tea drinker.
Joel McCrea was an employee of a cement
company and helped build the sidewalks on
Hollywood Blvd.
A LL stars of the films receive begging
letters, but one Marie Dressier received
recently takes the cocoanut cream cake.
"This is the fifth time I've written," it stated,
"and still no money. You can't possibly need
it as badly as I do, so get it here at once."
"As if," Marie said, "I hadn't worked hard
and long for every cent I've earned. Other
actresses can stroll on the stage or screen, in
a risque gown, say a few sophisticated lines
and make a hit. Or an ingenue can skip on,
roll her eyes, look cute and is a wow. But me.
Lir-ten. I've got to fall over chairs, dive into
oceans, break my neck coming down stairs or
do some darn thing every time I make an
appearance.
"Yes, sir, I work hard for my money. And
what's more I'm keeping it. I earn it. don't
I?" Marie asks.
'"THE laugh of the month comes from the
story of a certain picture star who was
describing a marvelous dinner party she had
attended.
"It was wonderful," she said. "The dinner
was superb and not too many people there.
Just eight of us. There were Constance and
the Marquis, Joan Bennett and Gene Markey,
Dick and Jessie Barthelmess, my friend and
myself."
"But who gave the party?" her companion
asked.
"Oh, I forgot," she answered. "There were
nine of us. The other man was from Xtw
York. "
"How did he get in?"
"Well, he gave the dinner."
A CHICAGO newspaper has appointed a
Garbo editor. This is the first time in
history a newspaper has given any personality
such individual journalistic attention. The
funny thing about it is that the editor never
saw Garbo except on the screen.
Xow, perhaps, we'll hear of a Hoover editor,
who may also double as Depression editor.
TX heaven's name what will they do next?
Since most theaters in Hollywood are running
a double bill, a brand new game has developed
among picture players that has anagrams and
backgammon beat a mile. It has solved the
problem for many a Hollywood hostess. She
simply loads all her guests into cars and drives
from theater to theater reading the comical
billing on every theater front. And does it
get a laugh?
For instance here are a few that appear-
ed in Hollywood last week:
My Sin Caught Plastered
Once A Lady Way Back Home
Working Girls Surrender
Racing Youth Safe en- Hell
[ PLEASE TURN TO PAGE 84 ]
82
Photoplay Magazine for March, 1932
I learned from a beauty expert
how to hold my husband
— and why so many women fail
'Your complexion decides your beauty possibilities", says
the celebrated beauty specialist, Desfosse, of Paris. "I
have seen the results, only too often, when women have
experimented with the wrong soap. Use a soap you are sure
of. A soap made of vegetable oils-a soap that CANNOT
hurt your skin—Palmolive."
You must keep skin young,
lovely, say over ao,ooo
experts, who advise daily
use of Palmolive Soap — the
one world -known soap made
exclusively of vegetable oils.
I'M convinced we wives grow careless—
that husbands watch our complexions
much more than we think. It was my beauty
expert who warned me: 'Keep your com-
plexion young— that look of youth is what
men seek."
"Don't neglect your complexion. Don't use
your face as a testing ground for soaps.
"Let me tell you the cleansing method I
consider best. A thorough washing with
the rich, deep suds of Palmolive Soap.Then
a refreshing rinse with warm water, followed
by cold.
"Cream? Yes, if your skin needs it, be-
fore applying powder.
"But Palmolive Soap. That's the im-
portant thing. I can't tell you the cases I've
seen where harsh, strong, irritating soaps
have dried once-lovely skin.
"Olive and palm oils are safe. I know
of no two cosmetic oils that are better for
the skin. Many of my own preparations are
made of these same beauty oils. More than
20,000 of my colleagues believe in them,
believe in and advise Palmolive Soap. You
just try the method I have outlined. Watch
the change it makes; the new light of ad-
miration it brings to your husband's eyes."
££' lOc
KEEP THAT SCHOOLGIRL COMPLEXION
Cal York's Monthly Broadcast from Hollywood
CONTINUED FROM PAG] 82
V\7ALLY BEERY tells this one. And
^^ swears they weren't motion picture
directors.
It seems that a man was driving, one night,
along the Colorado Street bridge, at Pasadena,
when he saw another man just ready to leap
over the railing.
"Hey. Wait a minute. What's the matter?"
"It's the depression," said the other.
"Now. Now. Things aren't so bad as all
that. Sit down for a few minutes and we'll
talk it over," said the first, filled with concern
over the plight of the second man.
Down they sat.
They talked and talked.
Finally there seemed to be no more left to
say.
They rose and exchanged a long, friendly,
handclasp.
Then both jumped over.
A CERTAIN columnist discovers that some
Englishmen have a sense of humor, even
that romantic looking Englishman, Ronald
Colman.
She relates that, during the holidays, a
friend decided to send Ronald a telegram and
chose one of the telegraph company's standard
greetings, number 17, thinking Ronald would
never know the difference.
Within a few days a reply came back.
"Thanks and number 15 to yo"u." (Signed)
Ronald Colman.
T_TEDDA HOPPER was attending a party
"""at Laura Hope Crews' where there were
such motion picture people as Ruth Chatter-
ton, Roland Young and others.
An intelligent and rather well-known stage
actress from New York City was also among
those present.
Her first motion picture party. She ap-
proached Hedda.
"Really, Mrs. Hopper, I'm amazed. You
picture people have such charming manners.
You seem like — well, charming people."
"What did you think?" Hedda's back
stiffened.
"Did you expect us to bite you?"
"No. Not exactly. But you hear so much
about Hollywood being gauche, you know."
Hedda made her get-a-way before she should
give a good old-fashioned raspberry and prove
exactly what the woman had expected.
XTARLENE DIETRICH announced to the
world that all is well with her and her
discoverer-director, Josef Von Sternberg, by
clinging adoringly to his arm at a Hollywood
opening.
T.\ Freddy .March's latest, "The Black Robe,"
a picture of his father plays a large part
in the production. Freddy plays two parts,
you know. Twins.
The art department produced one father
after another for his inspection but Freddy
didn't like them.
Finally, he brought down a small photo-
graph of his own dad and said, "Why don't
you use that?"
So they had it enlarged and hung it on the
wall to take its place as almost an actor in
the picture.
84
Just think of the thrill Freddy's father will
get when he sees that picture back in Racine,
Wisconsin, and finds him>elf playing a part
with his son in the movies!
\T THEN Una Merkel married Ronald Burla,
aviator, unexpectedly, she left one very
broken heart in Hollywood.
Johnny Arledge.
They worked together in "Daddy Long
Legs" and Johnny just thought Una the
greatest little gal in the world.
Still thinks so. But Una could only marry
one man and she's happy and Johnny is
happy to see her happy.
T_JOLLYWOOD has gone kitchenette. Many
of the stars are giving up their beautiful
and expensive Beverly Hills homes to move
into apartment hotels with electric refrigerator
privileges and no worries about servants.
The Richard Barthelmesses are the latest
couple to rent their home and move into The
Town House.
They still have their newly completed home
at Malibu Beach, however.
JUST a few days before he left Hollywood,
J to go East, the late Robert Ames was talking
to a friend about his future.
"What's this getting us?" Robert asked.
"We work like dogs and think of nothing but
money. I'm going to do one more picture
and then quit. I'm going to live the rest of
my life as I want to. "
But Bobby Ames never made that picture.
In less than a week he was dead in New York.
[ PLEASE TUKX TO PAGE 94 ]
We'll give you up to a million guesses on the identity of this here woman.
Nope, it's not Mae Marsh in "Over the Hill," nor is it the pet scrub lady of
one of the stars. We'll give you a little tip — it's all done with mirrors and
grease paint. Meet Barbara Stanwyck (cross our heart and hope to die)
as she appears in some of the scenes from "Forbidden"
Photoplay Magazine for March, 1932
Fluffy rolls of snow-while In the Kotex factory , Kotex Where safety is vital to
Kotex filler .. .you see row iscui, folded .packedby »ia- health, in the great hos-
on row of them when your chine. Under a giant pitals of America, twenty-
eve travels don '» this room spotlight, 152 eyes inspect four million Kotex pads
in the sunlit Kotex factory . its immaculate progress. were dispensed last year.
so dainty
herself
you would expect her to rely on
the purity of genuine KOTEX
By ITS very existence, by its cou-
rageous pioneering in educating
them to the use of true sanitary
protection, Kotex has done great
service to women. No less important,
however, is the service Kotex con-
tinues to do.
For beyond freedom from embar-
rassment, beyond women's mere
emancipation for all activities at all
times, there must be a serene assu-
rance that one's protection
is safe.
Nothing so intimate as
Kotex, nothing must be freer
from the whisper of taint.
Snowy whiteness alone
might easily, but falsely , nourish a mis-
guided trust. In a product like Kotex,
only the highest surgical cleanliness
Never pay
more than
35c
is enough. Anything less than this
immaculacy in Kotex is unthink-
able. No hovering question mark
. . . Where was it made? Under what
conditions?. . . to mar one's confidence.
The familiar name of Kotex is wo-
men's shield against the mysterious,
the nameless, the unknown.They trust
it as they would dream of trusting
nothing else. Kotex is doubly valu-
able to women because they can give
it, as they do, that priceless,
comforting confidence.
Who would risk a substi-
tute? Make sure, when you
buy it wrapped, that you get
genuine Kotex. On sale at
all drug, dry goods and department
stores, also in vending cabinets
through West Disinfecting Co.
KOT6X
SANITARY NAPKINS
A
SK THE
A
NSWER
M
AN
Fine work in " Dr. Jekyll and
Mr. Hyde" brought loud ap-
plause for Fred
FREDRIC MARCH is again a favorite.
In the January, 1931, issue of Photoplay
we told you that Freddie brought in the
most "tell me" letters. Now, over a year later,
following his great success as Dr. Jekyll and
Mr. Hyde, folks are asking about him again.
For those who didn't save the January, 1931,
issue, here's Freddie's history. He was born in
Racine, Wis., on August 31, 1898. Is 6 feet
tall, weighs 170 and has brown hair and brown
eyes. Was educated at the Racine High School
and University of Wisconsin. Was in many
successful plays before he entered pictures in
1928. Married to Florence Eldridge, stage and
screen actress. His next picture will be "The
Black Robe."
And here's a surprise! Raul Roulien scored
second in the mail bag. Some of you don't
know him, but after you've seen "Delicious"
you will want to know all about him.
Raul is a newcomer. He was born in Rio de
Janeiro, Brazil, South America, on October 12,
1905. His father, before his death, was the
director of the National Musical Institute of
Rio de Janeiro. Raul made his first stage ap-
pearance at the age of five. From then until he
was twelve he travelled all over Brazil with
various companies. Then he returned to
school.
After he finished school he resumed his pur-
suit of a stage career. He formed his own
musical comedy company and travelled all over
the world. He composed the song, "Adios Mis
Farras," the sale of which ran up to 1,700,000
on records and 386,000 printed sheets in
seventy days. He wrote and staged more than
twenty plays, such as "The Irresistible
Robert," "Miss Charleston," "Heart," "Pet-
als," and others. In addition to his achieve-
ments as song writer, playwright and com-
poser, he has an architect's degree. His next
picture will be "Widow's Might."
Rita Carr, Phila., Pa. — Junior Coghlan
was horn in New Haven, Conn., on March 16,
1916. He has brown hair and brown eyes.
Junior's latest pictures are "Juvenile Court"
and "Union Depot." Don't miss either of
them. They're good and he's good in them.
Paul Fi.ores, Ventura, Calif. — Jean Har-
low is a native of Kansas City, Mo., born there
86
on March 3, 1911. She is 5 feet, 3 inches tall;
weighs 112, has blue eyes, and — oh well, you
know about her hair. Jean is divorced from
Charles McGrew. Her latest picture is "The
Beast of the City."
Tin i.\ia Schmidt, Indianapolis, Ind. —
Robert Ames was about forty-two years old
when he passed away. Hardie Albright uses
his own name in pictures.
Una Allward, Toronto, Ont., Can. — Una,
you have been raving about Lionel Barrymore
in "The Mad Genius," when all the while it
was John you should have been praising.
Lionel was not in that picture. The other chap
you mention is Donald Cook. Have you seen
him in "The Public Enemy " "Side Show" and
"Safe in Hell"?
Betty Darling, Utica, N. Y. — Darling,
who wins the bet? Mary Pickford was married
to Owen Moore from 1910 to 1920. Mary's
real name is Gladys Smith. She has no children
of her own, just an adopted daughter of h°r
sister, Lottie.
Margaret Desmond, Troy, N. Y. — Kay
Francis is 5 feet, 5 inches tall and the gorgeous
Garbo tops her by one inch. I believe these
heights are without shoes.
A Friend. — You can convince your pal that
Edward Everett Horton did play a dual role in
"Lonely Wives." Ed played the part of the
criminal attorney and also the part of a vaude-
ville performer.
Yola Frankovske, Lode, Poland. — Yola,
I am glad that you like our American pictures.
Maurice Chevalier has just completed work on
"One Hour with You," with jeanette Mac-
Donald and Genevieve Tobin. Grace Moore
hasn't done anything in pictures since she made
"Jenny Lind" in 1930.
Irene Kelly, Hazard, Ky. — It was Ray
Milland who played the role of the deposed
king in "Ambassador Bill." Ray has played in
several other good pictures. They are "The
Bachelor Father," " Bought," " Larceny Lane,"
and he will be in the new Marion Davies-Clark
Gable picture called "Polly of the Circus."
Ray was born in Drogheda, Ireland, on Janu-
ary 3, 1907. He is 6 feet, 1 inch tall; weighs
168 and has brown hair and hazel eyes. Was
married to Muriel Weber last September.
Carla Losly, Oklahoma City, Okla. —
The reason you don't see Ralph Graves so
much in pictures now, is that he spends most of
his time writing stories for the screen. He and
Bess Meredyth wrote "West of Broadway,"
Jack Gilbert's latest picture. Ralph was born in
Cleveland, Ohio, on June 1, 1900. He is 6 feet,
Read This Before Asking Questions
Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. If you want a
personal reply, enclose a stamped, self-addressed
envelope.
Casts and Addresses
As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
to Questions and Answers, Photoplay Magazine,
22i W. 57th St., New York City.
One picture role fin "De-
licious") made Raul Roulien
a favorite
1 inch tall; weighs 170 and has brown hair and
blue eyes. Is married to Virginia Goodwin.
"A Dangerous Affair" was his last picture.
Janet Louise Evans, Malden, Mass. —
Tallulah Bankhead uses her own name in
pictures. Tallulah started her stage career
when she was but seventeen years old. She
was popular on the New York stage, but de-
serted it for London where she appeared before
the footlights for over eight years. Returned
to America last year to make pictures. Her
latest is "The Cheat."
Betty Smith, Omaha, Neb. — Irving Pichel
was the District Attorney in "An American
Tragedy." Charles Middleton was the Prose-
cuting Attorney. Irving was born in Pitts-
burgh, Pa.. 40 years ago. He is married and
has three children. His first picture was " The
Right to Love" and his latest is "Two Kinds
of Women."
Gladys Matthews, Des Moines, Iowa. —
Raquel Torres played the role of the half-caste
wife of Ben Lyon in "Aloha."
Marjorie
The very first
pea red in was
on the stage,
played in a
"Brothers,"
Muriel Oakes
last wife.
Calvert, Montreal, Can. —
picture that Chester Morris ap-
" Alibi," in which he also played
Chester's father, William Morris,
few pictures too, among them
and "Behind Office Doors."
was Robert Ames' fourth and
H. Lorraine Heinke, Flourtown, Pa. —
As a typist you're okay with me, Lorraine.
Here's the lowdown on Laurence Olivier, the
new chap who has your heart all a-flutter. He
was born in Dorking. Surrey, England, on May
22, 1907. Is 5 feet, 103^ inches tall; weighs 150
pounds and has dark brown hair and dark
green eyes. Appeared on the London stage and
in British pictures before he came to America.
I know it'll break your heart, m'dear, but
Laurence is married to Jill Esmond. Jill, by
the way. is also a Britisher. She w:as born in
London, on January 26, 190S. Has appeared on
the London stage, too. Jill has been appearing
in American pictures recently, among them
"Once a Lady" and "Ladies of the Jury."
[ PLEASE TURN TO PAGE 96 ]
Photoplay Magazine for March, 1932
^VVTiat would it
mean to you to
BE SEVENTEEN TONIGHT?
XJ.AVE you lieard the thrilling
news'Tnato even teen lias put you th's
own subtle coloring inpowaer, make-
up I J. liatyour complexion may liave
tlie cliarm of seventeen tonight:
Here s what you must do!
Forget previous disappointments
■with make-up. Forget tlie rouges tliat
deceived no one. Tne lipsticks that
made your moutli look — not soft — ■
but hard and old. Tne powders tnat
seemed to coat your skin as with a
mask, clouding natural transparency,
discovering tiny lines.
Forget all that. It s in the past.
Your complexion s future — 1 s
LIPSTICK
Apply Seventeen Lipstick to the
upper Up and to the center of the
under Up. With your finger, gent-
ly war Jc in the rouge until the out-
line is soft and natural. You will
he delighted with the soft, natural
effect — possible only with youth-
tone shades. Light, medium and
darlc. . ■ in a smart olack-and-
silver case.
Seventeen !
ROUGE
Aprtly Seventeen rouge to shin
made firm and dewy by Seventeen
Creams and Freshener. Remem-
ber that youth lines are up lines
— avoid color placements that em-
phasize downward lutes of the
face. Choose your shade of
Seventeen Rouge from five fas-
cinating youth-lone tints.
x. or Seventeen Alake-up comes in
Youth-Tone shades. Soft, glamorous
tints that bring the fresh, natural glow
of youth to your complexion. Shades
carefully compounded, by wise
beauty workers, to lend your skin the
fugitive color tints of the seventeen-
year-old complexion.
You 11 want Seventeen Rouge.
Seventeen Lipstick. And by all means,
Seventeen Powder. Forper/iectresults,
use Seventeen Creams, to prepare
your skin, and leave it smooth and
dewy.
Then the make-up. And the glori-
ous thrill — of seeing your own mir-
ror reflect the radiance of seventeen!
rwo-TO
POWDE
Here's the Two-Tone Powder that
lends your skin the delicate trans-
parency of youth! Ingredients of
DO wetghts arehlended. The heav-
ier clings closely to the skin. The
Ugh ter weigh f, on the surf a ce.
seems to take nn another, lighter
color tone! What a glorious dif-
ference—from the masking dull-
ness of ordinary powders I
88
Photoplay Magazine tor March, 1932
Still as
FIT
as ever
Here's a dish for young men
and men who stay young
YOU remember him when he was fresh
from college — lithe and healthy and
fit. He wants to keep as young and as
athletic as he was then.
But no man has the time to figure
out what to eat. He leaves that to you.
You don't want to fail him — so give
him a delicious cereal that's especially
made for active people. Serve Kellogg's
PEP Bran Flakes.
These better bran flakes are full of a
flavor men love — the matchless flavor of Pep.
But even more important, they're filled with
whole-wheat nourishment. Whole wheat is a
favorite food for active people because nature
has made it a storehouse of the food elements
that build and nourish ... of iron and min-
erals, of vitamins and proteins. And just
enough bran to be mildly laxative. They're
an ideal dish for the children as well. Have
Kellogg's PEP Bran Flakes for breakfast
tomorrow. For your own lunch. For the
children's supper.
Made by Kellogg in Battle Creek. In the
red-and-green WAXTITE sealed package.
Quality guaranteed.
FOR THE CHILDREN: Tune in Kellogg's SI1SGI1SG LADY
every afternoon except Saturdays and Sundays at 5.30 East-
ern Time, over M JZ, WLW, WBAL, KDK\,:: WBZ,:: WBZA,:: WGAR,
wjr. At 5.15 Central Time, koil, wren, K«K; at 6.00, wcn.
Songs and stories children love. 'W hen available
Banana bread,
crumb sauce,
and beans Italian
style
Recipes That Help
Dorothy Jordan Keep
Her Grand Figure
DESPITE the fact that
everywhere you turn you
hear that the good old
curves are once again mightier
than the angles, women con-
tinue to pursue that will-o-the-
wisp, slimness. The response to
Sylvia's first article in Photo-
play last month proves that.
Dorothy Jordan gets her sup-
ply of good foundation material.
Her lunch at the studio com-
missary wisely consists of a
fruit salad, a glass of milk and
raisin bread. Dorothy never
neglects eating her quota of
vegetables and fruits every
week, which accounts for that
lovely skin and nicely rounded
figure.
Vegetables need not become a
bug-a-boo on the menu. Here,
for instance, is a grand way of
giving the lowly bean an elegant
air. It is called, Beans — Italian
Style.
Beans — Italian Style
2 tablespoons chopped celery
3 cups cooked green beans
]/2 teaspoon salt
% cup tomato pulp
2 tablespoons chopped onions
4 tablespoons olive oil
% teaspoon paprika
2 tablespoons chopped parsley
Heat the oil in a frying pan.
Then add onions and celery.
Cook slowly until a light brown.
To this add the rest of the in-
gredients, cover and cook slowly
for 10 minutes. Be sure to stir
frequently.
Carrots, broccoli, cauliflower
or any other vegetable you
might choose, will seem twice as
tasty if covered with this ex-
cellent sauce.
Bread Crumb Sauce
3A cup fine, dry bread crumbs
4 tablespoons of butter.
Melt one tablespoon of the
butter, then add crumbs when
it is very hot. Stir this over the
fire until the crumbs are a light
brown, then add the rest of the
butter. This is poured hot over
the vegetables.
Banana bread often takes the
place of white bread on the
Fredric March's table. Here is
how to make it — I might add
Dorothy Jordan has one of the most beautiful
figures in pictures. By watching her diet care-
fully, it never varies more than a pound or two
Photoplay Magazine
919 N. Michigan Ave., Chicago, 111.
Please send me a copy of Photoplay's Famous
Cook Book, containing 150 favorite recipes of the
stars. I am enclosing twenty-five cents.
Be sure to write name and address plainly.
You may send either stamps or coin.
that the best part of it all is that
it takes no time at all to make it!
Banana Bread
1 cup shortening
2 eggs
3 ripe bananas
1 teaspoon baking powder
1 cup sugar
3^ cup water
1 teaspoon soda
2Yi cups flour
Pinch of salt
Mash the bananas with the
sugar and shortening. Then sift
the baking powder and flour
together. Add the ingredients.
Bake one hour in a* moderate
oven.
And there's another way of
dressing up vegetables so you
can hardly recognize them.
Here is one of the recipes.
Scalloped Eggplant
1 eggplant
grated cheese
Y2 cup of milk
Y2 box salted crackers
lumps of butter
salt and pepper.
Cook the eggplant whole un-
til it is entirely done. Remove
it from the water in which it has
been cooked and peel it. Butter
a baking dish. Break up the
crackers in fairly small pieces.
Slice the eggplant and put a
layer on the baking dish. Then
add a layer of crackers and small
lumps of butter. Continue until
the dish is almost full. Add the
milk, sprinkle the top with
grated cheese and bake in a
medium oven until hot through.
Summer squash is excellent
this way and so is oyster plant.
Even the lowly carrot is de-
licious if given a new zest. One
of the best and most nutritious
methods of cooking carrots is to
cook them in boiling water
whole until they are done. Take
them out and skin them.
Put them in a pan and mash
them with potato masher add-
ing butter generously. When
they are thoroughly mashed,
beat them with a spoon, as you
would beat potatoes, until they
are creamy. You'd never know
your old detested carrot.
Carolyn Van Wyck
S9
"~rrrnz*^w^
n,
QO0D0Q°0
id i
,OOOoooooocooc
GOOOOGOf
Part two •
<?RE SEE? HEI2
ERROR AND m
JUSTICE TO
HEESOT vPHOOT^
HEB HUSBAND ■
r^ft^'!' " ■ . ' 1^ 1 — —
•
^
;
ft
Part tvvo •
Q& - HE KNOWING
THAT RES* REAOHEP
THEENIDOFHIPBOPE
ASSUMED RtS WtFE>
MAIDEN NAME —
SHOOTS THE GIGOLO
THEN JOIMS THE,
FOREIGN "LEGIOM •
I
1/
Hold K)ur s^to
Police -You awt,
^EENNOTHnryer-
TR\9 ME2ELV ENDS
THE FIRST HALF OF
'cPHOPWQDN LOVE/
choose your own happy
en pino, to this super -thbiuer
on etther of the others
FOUR SCREEN P «
Aix HoLLywoop'THAN/yoia-
=r~
tcxKspas
IfP
NO PlO£ -
Shoot
THE
sLJ^B WORKS !
TO
Vaqt two •
or- the gigolo.
sensing danger. .
confess? allto the
husband for silver
anp swears1 to
SECRECy TO THE WIPE
FOR GOLD ~ THEN
shoots THEM Both •
Pact TWO •
OK. - IF IT suits you
AW BETTER^/E
RAVE ARRANGED To
SHOOT THE ENTIRE
OAST IN BULK —
SO YOU CAN GET
Home early" — •»
GOOP MIGHT"
V
[O0000\
Choose your own ending. Nothing could be
fairer, except to pay the audience for attending
90
Photoplay Magazine for March, 1932
91
a<te I g3 2 / )pyr7/7s7/r?7ssi oAoad^sta /rtatZ tips tnM^O
ate TINTED at NATURAL..?
The popular girl of 1932 is way
past losing sleep over whether to wear her
nails bright or pale.
The deep question that every smart
young thing today is pondering is which
of five shades of nail polish is best to wear
with which dress.
Will she lure more men from the stag-
line if she wears the white satin dress with
Coral nails, or with Rose nails? Or the
red crepe de chine with delicate Natural
finger tips?
If you're not bright enough to work out
your own color scheme, you can look it up
in the chart at the right. But whatever
you do, don't be seen with the same color
nails 7 nights in a row!
In other words one nail polish is no
longer enough. To be smart you've got to
have at least two shades ... a lighter one
and a deeper one.
And with color so Very Important
you've also got to use a flawless polish.
Cutex Liquid Polish has a grand lustre;
Every popular deb has at
least two shades, and varies
them with her gown, says
world manicure authority
Natural just slightly emphasizes the
natural pink of your nails. Goes with all
costumes — is best with bright colors — red,
blue, green, purple and orange.
•
fiOSC is a lovely feminine shade, goud
with any dress, pale or vivid. Charming
with pastel pink, blue, lavender . . . smart
with dark green, black and brown.
•
Coral nails are bewildcringly lovely with
white, pale pink, beige, gray, "the blues"
. . . black and dark brown. Wear It also with
deeper colors (except red) if not too intense.
•
Cardinal is deep and exotic. Contrasts
excitingly with black, white, or pale shades.
Wear Cardinal in your festive moods — be
sure your lipstick matches!
•
CoiOriCSS is conservatively correct at
any time. Choose it for "difficult" colors!
CUTEX
. . ONLY 35 *
.
from Mary Walls, New York
dries in no time — lasts for days, and does
not crack, peel, turn white, streak or fade!
And the new bakelite cap wipes out the
broken cork problem — keeping the brush
(attached) neatly off the table top.
Go pick your favorite shades today!
Follow this easy Cutex Manicure . . .
Scrub the nails. Then remove old lifeless cuticle
and cleanse beneath nail tips with Cutex Cuti-
cle Remover & Nail Cleanser. Remove old
polish with Cutex Liquid Polish Remover and
brush on the shade of Cutex Liquid Polish that
best suits your costume. End with Cutex Nail
White, Pencil or Cream, under tips for accent.
Before retiring, use Cutex Cuticle Oil or Cream
to soften the cuticle.
Northam Warren • New York • London • Paris
2 shades of Cutex
Liquid Polish
and 5 other
manicure
essentials
jor \2<f
Northam Warren, Dept. 2Q3
191 Hudson Street . . . New York, N. Y.
(In Canada, address Post Office Box 23S0, Montreal)
I enclose \1t for the new Cutex Manicure Set, which in-
cludes Natural Liquid Polish and one other shade which
I have checked ... □ Rose □ Coral □ Cardinal
The Unknown Hollywood I Know
[CON riXUED FROM PAGE 40 j
But there was, at M-G-M, one
woman whose life was never
straightened out. I'm referring to
Jeanne Eagels. The great stage
star came to Hollywood to do
"Man, Woman and Sin," with
Jack Gilbert. Monta Bell, having written the story, was
assigned to direct it. Having faith in Jeanne Eagels' ability,
he didn't know what he had let himself in for.
Getting Jeanne to work was a task fit only for a Hercules.
You already know the reason. One morning she arrived late
on the set. The scene was a simple one. Seated at a desk, it
was her sole duty to pick up a telephone receiver and speak a
few words, any words at all, since this was before the days of
talkies. They rehearsed over and over again but she could not
coordinate enough to accomplish
the single gesture required of her.
Once, during a rehearsal, she did
it right.
'•We'll shoot it," said Bell.
They hit the lights and the
cameras turned. Jeanne failed
miserably before the cameras.
Almost frantic with the waste of
time and energy, Bell decided
that they would keep on shooting
the scene, right or wrong, in an
effort to catch her when she was at
her best. They did it twenty or
thirty times, using valuable film
and electric juice. Slowly she be-
gan to get it, slowly she was com-
ing out of the fog which dimmed
her brain. Bell heaved a sigh of
relief. Ah, it was coming along.
JUST at that moment a publicity
man, who knew nothing of the
strain of the morning, walked on
the set. He waited until one take
was completed and then stepped
in front of the lights and, before
anyone could stop him, leaned
over to Jeanne and said, "I'm
writing your biography for our
department. Miss Eagels, where
were you born?"
Her face was enough to tell
them all what was about to hap-
pen. Worn down by the repeti-
Billy Haines announced his engagement to Polly
Moran (left i, but it was all a gag. Here are the two of
them with Anita Page, who came to Hollywood with
Harry Thaw and made good in spite of it
"Stop her from saying those things!" cried
executives. But the press-agents were help-
less against Eleanor Boardman's frankness
tion of the scene, her nerves
frayed and jagged, she turned
upon the press-agent and shouted
at the top of her lungs, " Where
was I born! Good Lord, who
cares where I was born? You ask
me where I was born! How should I know? Who wants to
know? Maybe I wasn't born. Maybe I'm a living ghost. Born,
born, born — God in Heaven, where was I born!"
Her hysterical shrieks shook the set. She arose from the desk
and stumbled away, still shouting, "He asks me where I was
born! " And there was no more work that day.
NOT very long ago I saw in the paper an article which
stated that Lon Chaney guarded his make-up secrets
carefully, particularly the one
that made him appear sightless
in one eye in " The Road to Man-
dalay." That is not quite true.
Any friend who asked Lon could
have had the secret for the listen-
ing. In this picture he used the
lining of an egg cut to fit the eye
and carefully slipped over the
eyeball to achieve the effect. And
Lon would tell you about it. for
he was essentially an honest per-
son.
THERE was another honest
person on the M-G-M lot and
she got herself and the publicity
department in trouble because of it.
The name is Eleanor Boardman.
It was with fear and trembling
that I used to take interviewers
to Eleanor's dressing room. With
utter frankness she answered
whatever questions were asked
her. She told exactly what she
thought of life, love, marriage
and studio executives — especially
studio executives.
Invariably the interviewer
would call us and say, "Do
you think I dare print what Miss
Boardman told me?" And we, on
bended knees, would beg her not
to do so. But Eleanor did not
[ PLEASE TURN TO PAGE 104 ]
92
Photoplay Magazine for March, 1932 03
"MEN ARE STRANGE
CREATURES"
WHAT AN unmerciful twitting they give women about their
bargains! And how they love to harp on "vain as a woman"
when wives and daughters are successful in looking their
best! . . . But to hear them at the office is another story.
It's "my wife this, and my wife that" — with evident pride.
Vain? There's nothing quite so vain as men who have
attractive and accomplished wives. How their wives man-
age the home — how they plan and buy — is a source of
constant wonder and appreciation. Nothing pleases a man
more than the knowledge that his wife is a shrewd manager
and a deft hostess.
But what is so amazing to men is commonplace to wom-
en. Women know that shrewd management and good
taste are not matters of chance, but qualities to be culti-
vated — personal qualities that depend upon a thorough
knowledge of style and value.
It is not difficult for them to obtain this knowledge.
They read the advertisements in the magazines — printed
statements of style, price and value. Statements that are
sponsored and signed by companies known for business
integrity and style authority.
Guided by this knowledge, women choose wisely — and
receive for their money the highest in quality, the utmost
in style.
94
Photoplay Magazine for March, 1932
<M
en go tvilti*
simply wild* over me
• •
I'm not a bold had baby who rolls
her eyes. But men simply love to play
around with me. Every time they get a
chance they tickle my chin or tenderly
stroke my cheeks!
All this has got me thinking that they
like girls with complexion allure.
Now what I'd like to know is — what's
the difference between complexion and
skin? Grown-up ladies say what's above
the neck line is complexion. Now, really
I wasn't born yesterday. I know that my
skin is the same all over me — and it
simply feels grand after an Ivory bath !
I guess mother's come over to my way
of thinking. She doesn't fuss over her
face the way she used to do. She washes
her face good and clean with my cake of
Ivory Soap. I guess she realizes that a
soap that's nice to my sensitive skin is
just bound to be the best beauty treat-
ment for her pretty face.
And she's getting my complexion allu re
...I notice father is cheeking with her. too!
KIND TO EVERYTHING IT TOUCHES -99 +Vl00% PURE
Cal York's Monthly
Broadcast from
Hollywood
[ CONTTNTTED FROM PACE 84 ]
VfTHEN little Bette Davis' contract was
not renewed by Universal, she was
thrilled. Tickled to death. She had failed in
pictures and was glad of it. She was going
home, to New York, for good. Nothing would
separate her from her boy-friend again. (A
business lad in New York.)
She was working in "The Man Who Played
God" on the Warner lot when she learned
her option was not to be renewed. Just as
she was ready to leave — all packed — Warners
asked her to sign a long-term contract. Her
heart dropped a mile but her ambitions jumped
two miles.
She signed. Somehow, ambition always
wins the old battle in the film city.
"^TOW here's a smart lad — and a
■*■ ' chap who ought to go far in big
business. The name's Jimmie Fidler
and once he was married to Dorothy
Lee.
When they were divorced he
advertised the house he'd built for
Dorothy for rent.
Dorothy was the first to apply for it
and Jimmie rented it to her — for six
months' cash advance.
C ARI MARITZA is Paramount's new import
from foreign lands. Another Marlene Diet-
rich hope for the studio that has lost Bow,
Chatterton, Francis, Powell and that has let
Wally Beery slip to Metro.
Well, if this little gal uses the same tactics to
tackle Hollywood that she did to tackle
England and her first picture, Dietrich had
better look to her laurels.
It all started when Sari was eleven. The
daughter of an English father and an Austrian
mother (shades of Elissa Landi!) she was
born, and reared until eleven, in China. She
passed through Hollywood on her way to
England and was shown the Douglas Fair-
banks set where Doug was making "Robin
Hood" with Wally Beery. Exactly ten years
ago.
When she left the set, she announced loudly,
"I will be a motion picture actress."
"Tush, tush, tush," said mother and daddy
who were training her for a grand debut in
diplomatic circles in Europe.
CARI learned the social prerequisites. She
^speaks English, French, German and Chinese
as though she were a native. She made her
d6but — and then, one day, she slipped over to
England and met an actress named Yivienne
Gay. "I want to get into pictures. How- can
I do it?"
"I'll fix it for you. I will be your manager."
Miss Gay went to the phone and telephoned
fixe British producers saying that Sari Marit-
za, the great Austrian actress was in town
between engagements and would consider one
picture offer if the picture and the price were
right.
She chose Sari's mother's name because it
was Austrian and would uphold the story.
The five producers arrived; three of them
made the great Austrian offers. Sari accepted
one and explained her awkwardness before the
camera by the fact she had only been on the
stage; never in pictures.
She's been playing leading roles ever since,
either for British concerns or for UFA.
If she could get by the British producers
without a day of experience on either stage or
screen — we'll trust her with Hollywood's head
moguls.
TJ KFORE a kid named Jackie Searl became a
■'-'screen actor, he lived with his dad, an oil
driller, and his mother in a little house such
as an oil driller could afford. The family either
walked or used street cars and busses when
they traveled. Jackie's toys came from the
ten-cent store, and he played with the neigh-
borhood kids.
Now Jackie Searl is a Paramount actor,
making several hundreds of dollars a week,
with prospects of being in the four-figure class
soon.
And what is the result?
He's still living in the same house. His dad
still works as oil driller. He still plays with the
neighborhood kids. He still gets his toys at
the ten-cent store, because his ma gives him
$5 per picture spending money, and that's all
he gets.
Every other cent of what he earns goes
either into clothes or other material for
his professional work, or into bonds in his
own name.
Not a cent of little Jack's earnings are taken
or spent by the family. They're still living on
dad's salary.
[ PLEASE TURN TO PAGE 128 ]
Photoplay Magazine for March, 1932
95
fc
1.
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■■
HI --'ilia
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Good work, Pola, you've never dis-
appointed us yet. Look at this re-
markable photograph. It was taken
just as Pola left the Santa Monica
hospital where she fought for her
life. Still weak from her long con-
finement, she was mistress enough
of herself to be a good showman in
spite of everything. Note the flowers,
note the Russian boots, note the
dramatic smile
. . . and be guided by the world's greatest
authority on beauty — Mme. Helena Rubinstein
Trying days, these are, for your looks!
March winds whip dust and grit deep
into the pores. The skin dries — lines
— ages. Ordinary methods of care fail
you now; you recognize the need for
something entirely different!
"At this time of the year," advises
Helena Rubinstein, the world's fore-
most beauty authority, "I especially rec-
ommend my Valaze Pasteurized Face
Cream — a cream unlike any other in
the world — combining biochemical
ingredients which revive the life and
loveliness of the skin. A beauty treat-
ment in itself!"
Rich, plastic, Valaze Pasteurized Face
Cream sinks gently, deeply into the
pores, cleansing antiseptically — remov-
ing every trace of dust and make-up —
revitalizing important skin glands. Fine
lines retreat, the skin is left soft, pro-
tected— without a trace of "stickiness"
— and wonderfully receptive to "finish-
ing touches"! This unique cream comes
in three distinct blends. For normal skin
— pasteurized face cream. For oily,
sallow skin — pasteurized bleaching
cream. For dry skin — pasteurized
face cream "special". Each in a gen-
erous jar at one dollar.
TO clear and beautify— use Valaze Skin
Clearing Cream (Beautifying Skinfood)youth-
ifies — clears away sallowness, freckles — 1.00
to tone and brace— Valaze Skin Toning
Lotion — refines pores, corrects fine lines. For
dry skin— Skin Toning Lotion "Special"— 1.25
"FINISHING TOUCHES"
youthifying foundation cream —
(Weatherproof)— 1.00 — a flattering, protec-
tive powder base, weatherproof beauty
powder — 1.50 — in the new "transparent"
Porcelain Natural or Ivory Rachel, rouge
(en creme or compact) — 1.00 — in alluring
tones, new automatic lipstick— 1.00 —
nourishing— indelible! PERSIAN EYE BLACK
(Mascara) — 1.00 — does not run, or rub off.
Secure these creations from Authorized Helena Rubinstein Representatives among
the better department and drug stores — or, if unobtainable, communicate with
liel
eiena ru
binst
stein
LONDON
8 EAST 57th STREET, NEW YORK
PARIS
HAVE YOUR FACE ANALYZED by HELENA RUBINSTEIN
MME. HELENA RUBINSTEIN, 8 East 57th Street, New York, N. Y. p- H- 3
Please send me without charge full individual instructions for correct daily care of my skin.
TEXTURE OF SKIN: D DRY □ MEDIUM □ OILY
□ SALLOWNESS D BLACKHEADS D LINES, WRINKLES □ RED HANDS D COARSE PORES
D DROOPING CHIN
f.tV NAME
D OILY NOSE
D PIMPLES, ACNE
□ ROUGH ELBOWS □ THIN
LASHES
ADDRFSS
CITY
Photoplay Magazine tor March, 1932
Questions and Answers
[ CONTINUED FBOM PAGE 86
AT A NEW LOW PRICE
WHY risk discomfort for the
fifty trying days of the year?
The easy comfort of softly fluffed
Modess makes these difficult days
more endurable — happier. Its
safety backing saves you from fear
of embarrassment.
Johnson & Johnson have reduced
the price of Modess. It is the same
quality — nothing changed but the
price. The most you should now
pay is 30j£ a box.
Try Modess. If it isn't com-
pletely satisfactory, write your
name, address, and the price paid,
on cover of box, and mail to us.
We will refund your money.
(J NEW BRUNSWICK (J N. J.. U.S. A.
Modess
SANITARY NAPKINS
Hazel Anderson, Brooklyn-, N. V. — The
young lad who played the role of Joan Craw-
ford's brother in "Dance Fools, Dance," was
William Bakewell. Bill is a native of Los
Angeles, Calif. He is 23 years old, weighs 145
and is 5 feet, 1 \l/i inches in height. Has brown
hair and gray eyes. His latest pictures are
"Daybreak," "A Woman of Experience,"
" Politics," " Guilty Hands" and "The Spirit of
Notre Dame."
Violet Ruhwedel, Chicago, III. — Here is
the information, Vi, and I hope it is not too
late to settle your argument. Conrad Nagel
was born in Keokuk, Iowa, March 16, 1897.
He is married to Ruth Helms and they have
one daughter. Conrad has been doing a little
turn in vaudeville and that's why you haven't
seen him on the screen lately.
Jimmy Nowlin, Oklahoma City', Okla. —
Jimmy, your namesake, Jimmie Hall, is just
31 years old. He was born in Dallas, Texas,
Oct. 22, 1900. Stands 5 feet, 10; weighs 158
and has dark brown hair and green eyes.
Lately he has been devoting most of his time to
stage appearances. He is divorced.
Rudy Stoermer, Waco, Tex. — Phillips
Holmes still has his pretty blond locks. For
the picture, "The Devil's Holiday," he had his
hair bleached a lighter shade. Now it is back
to its original natural blond shade and doesn't
photograph quite so light. If you like him
better with the pale colored hair, I'll pass the
information on to him.
Jeff, San Diixo, Calif. — Jeff, you came
along too late. Arlene Judge was married to
Director Wesley Ruggles last October. Arlene
was born in Bridgeport, Conn., 19 years ago.
She is 5 feet, 2 inches tall; weighs 100 pounds
and has black hair and brown eyes. Was on
the stage before she entered pictures. Her
latest picture is "Are These Our Children?"
Mary Blank, Canton, Ohio. — Yes, Mary,
Wallace and Noah Beery are brothers. Nor-
man Foster's latest picture is "Girl of the Rio"
with Dolores Del Rio. Monroe Owsley played
the role of Jim Woodward in "Indiscreet."
L. A. S., Ocala, Fla. — You have been misin-
formed. James Kirkwood is very much alive.
He is now appearing in "Widow's Might," for
Fox. James was married to Beatrice Powers in
September, 1931.
Dudley McKee, Terre Haute, Ind. —
Here are the descriptions you wanted: Sylvia
Sidney is 5 feet, 4; weighs 100 pounds, has dark
brown hair and blue-green eyes; Greta Garbo,
5 feet, 6; 122 pounds, light brown hair and blue
eyes; Clark Gable, 6 feet, 1 ; 190 pounds, brown
hair and gray eyes; Madge Evans, 5 feet, 4;
116 pounds, golden hair and blue eyes; Eric
Linden, 5 feet, 9; 150 pounds, brown hair and
brown eyes.
The gentleman wearing the grey suit is very seldom photographed, as his
pose will testify, but he's a power behind a throne, nevertheless. Meet
Robert Fairbanks, brother of the widely known Douglas. Bob accom-
panies Doug on many of his travels and has a voice in most of the business
deals Doug puts over. Except for the similar cut of the moustaches we don't
see much resemblance
Photoplay Magazine for March, 1932
Betty Jane Moran, Youngstown, O. —
The January, February and March, 1931,
:overs of Photoplay were graced with the
aces of Clara Bow, Dorothy Mackaill and
Constance Bennett, respectively.
K. Oiiizumi, Tokio, Japan. — Little Dorothy
Jordan uses her own name in pictures. You
an write to her at the Metro-Goldwyn-Mayer
studios in Culver City, California. If you
want to write to any of the other stars you will
ind a list of names and addresses printed in the
oack section of any issue of Photoplay.
Evalynne OF Wixsted. — It was Bramwell
Fletcher, blond English lad, who played the
6le of Billce in "Svengali" and Allen in "Once
1 Lady." Donald Crisp played the role of The
Laird in "Svengali."
Eva Alynn, Worcester, Mass. — Eva, the
Picture you described to me was "Three Girls
Lost." The three in question were Loretta
Voung, Joan Marsh and Joyce Compton. John
Wayne was the handsome hero.
Seymour tells us that there is a
decidedly mannish air to play clothes
this coming season. Well, we have
picked this pyjama ensemble for its
boyish, gamin look. Evalyn Knapp
says her headgear is a "Jimmie
Walker" cap— no doubt inspired by
hizonner from New York. The jersey
trousers are yellow, the knitted
jumper orange and the shirt white
vULUw spread from
germ-filled handkerchiefs
Prevent spread of colds and self-infection
by using KLEENEX Disposable Tissues
TAKE care when a single member of
your family has a cold. Start everyone
using Kleenex immediately. Especially
children, who catch cold so easily. This
is the modern, inexpensive way to keep
colds from spreading to others ... to
prevent germ-laden handkerchiefs from
self-infecting the user.
GERMS in handkerchiefs
During a cold a handkerchief collects
thousands of germs. It infects your cloth-
ing and laundry bag, and may spread a
cold through the entire family. It self-
infects you every time it touches your
face. Colds get worse and worse. They
hang on for days and weeks. So often
they develop into grippe, flu and other
serious complications.
Now Kleenex brings you new safety.
This sanitary tissue is used only once,
then destroyed. Germs that live and
TISSUES
KLEENEX
multiply in ordinary handkerchiefs are
destroyed this way. They cannot self-in-
fect you or spread infection to others.
Far more absorbent
Made of rayon-cellulose, Kleenex is
many times moreabsorbent than linen —
and infinitely softer ! It's a positive com-
fort during colds!
Once you have a package of Kleenex,
you'll find it convenient in scores of
ways. Use it for removing face creams,
to blot up impurities that cling so
stubbornly in the pores. The former
50c size is now 35c at all drug, dry
goods and department stores.
KLEENEX COMPANY PH-3
Lake Michigan BIdg.,
Chicago, Illinois
Please send me a free trial supply
of Kleenex.
Name.
Street _
1 City.
State.
In Canada, address: HO Bay Street, Toronto, Ont.
Germ-filled handkerchiefs are a menace to society!
Photoplay Magazine for March. 1932
FOR BEAUTY'S SAKE
wear these smart shoes
that put you AT EASE
The
SANDOR
NATURAL BRIDGE SHOES lift
up your spirits — put smiles in
your eyes — by releasing you from the
enervating effects of arch strain.
There's a triumph of modern shoe-
making in the way the natural arch
bridge gives normal support to your
natural arch — in the way these shoes
fit the foot in action as superbly as in
repose. They bend without bulging —
mould suavely to the arch and instep —
cling comfortably to the narrowest heel.
Standing, sitting, walking, they give
you the joy of constant ease; the flat-
tery of a perfect fit.
Let your dealer show you the soft,
durable leathers, the perfection of de-
tail that make Natural Bridge Shoes
such remarkable values. They are styled
for girls and women who know shoe
fashion ; priced for the thrifty ; designed
in individual combination lasts to fit
every foot. All sizes, AAAA to EEE.
Natural Bridge Shoemakers,
Lynchburg, Va.
In Canada
$7.50 and S8.50
It's All Done With Scissors
[CONTIW J.D FBOJ1 PAGE 70 ]
HP I IF. pseudo-science of the story (Para-
*■ mount's "Dr. Jekyll and Mr. Hyde") is
rather overdone, leading us to speculate un-
duly on this marvelous chemical which not
only alters the shape of the doctor's skull and
changes the number of his teeth, but deranges
his linen and soils his cravat; just as the anti-
dote restores teeth and profile and launders
out in an instant the white ties. — The New
Yorker.
SOME day, in the distant years, Hollywood
is going to awaken to the fact that one of
the greatest actors who ever lived, is in our
midst, has been for almost a year, and with
<\(.ry intention of remaining here indefinitely.
Richard Bennett is the name. — IF. K. Wilker-
son in the Hollywood Reporter.
A STAR'S attitude toward press and public
•**■ should be governed by the character she
is assuming. Miss Janet Gaynor must be
gentle and soft as she faces her worshippers,
and Miss Tallulah Bankhead must be daring
and unconventional even though in the inner-
most reaches of their souls they long to change
parts. It happens that Miss Garbo's role
is that of the mysterious and distant lady o
poetry and legend, and it would be suicida
for her if she attempted to drop it long enougl
to greet the boys and girls of the local paper,
with the easy heartiness and informality of ;
Bebe Daniels or a Richard Dix. — R
Watts, Jr., of the ??????
"T LIKE the movies for the romance and the
■*■ fascinating contacts they give you. . . . ]
am saving seventy-five per cent of my salary
because I get a kick out of saving up againsi
a rainy day." — Joel AfcCrca in Picture Play.'
GFTTIXG a child to sit willingly anc
happily in a dentist's chair is a feat that i*
accomplished regularly in the office of a
Boston dental surgeon. He had two or thret
very young patients, one his own three-year-
old son, who fought and wept when they had
their teeth attended to. and one day he brought
his movie machine down to entertain his child.
He rigged an arrangement for throwing tht
movies on the ceiling, and the little Ik>>
laughed at the antics of Felix while thi
necessary work was done. — The New York
Times.
Yep, those are snow balls, but there isn't any ice on the Connie Bennett-
Marquis de la Falaise marriage, yet. And that attractive girl in Hank's
left arm won't cause any scandals, either. She's Diana Fitzmaurice,
wife of the director, at whose home the two were married, and it was
near her mountain cabin that this picture was snapped. Note the latest
in hiking costumes that Connie is wearing. She's dressy even when
she's having fun
Photoplay Magazine for March, 1932
99
A STRIKING demonstration of the theory
that seeing motion pictures may be classi-
fied as a necessity as well as a diversion is
'Hound in a recent decision by the leading film
Blouses of Berlin to place 60,000 free tickets per
month at the disposition of the municipal
.welfare bureau during the winter season. As
■reported in Vorwaerts, the authorities will
check up on all applicants for free tickets so
:jthat there will be no abuse of the charity. — The
New York Times.
DENUNCIATION of gangster parts hasn't
helped George Bancroft. The ladies prefer
him as a big, blustering racketeer, who'll
Ushoot ten men and then befriend a puppy
dog. — Variety.
THERE are several songs in "Delicious,"
the principal one being such an unutterably
banal ditty that I must print its opening line:
"Vou're so delicious (pronounced delic-i-ous).
"And so capricious (pronounced capric-i-ous)"
etc. Well, it's probably malic-i-ous of me to
: print these lyrics out, but they are really so
stupid that I am certain that they will be
popular. — John S. Cohen, Jr., in the New
i York Sun.
"T ET no one essay Hollywood today without
■"first being asked. No longer does Holly-
wood consider the uninvited at its gates. Only
those with written bids can get in. They can
\ be newcomers to pictures but they can't be
new to the amusement world. Hollywood's
asking a lot of a picture aspirant, beauty, in-
telligence training, experience — but then look
i at what Hollywood can do for her." — Cecilia
i Ager — Variety.
HOLLYWOOD is to discontinue "O. K." as
the universal expression of sanction, com-
plete satisfaction and approval. The directors
are casting about for some happier or equally
i expressive substitute. We doubt whether they
twill find one soon.
I "0- K." has been overworked, and its
variant, "okay" is a vulgarism positively
offensive to the ears of the purist. And the
inverted "k. o." positively is too lowbrow for
words. Who'll volunteer to slip us the great,
useful little word that will be okay with
everybody? — Kansas City Star.
T\ 7T.STERN heroes of the big open spaces
W have dimmed in luster for two seasons.
Horses have lost speed compared with auto-
mobiles and airships. The worst bad man of
the frontier was a fair-haired Sunday child
compared with the modern gangster. — Harry
Can- in the Los Angeles Times.
A ND while we shouldn't care particularly to
-*Make our twelve-year-old daughter to see
"Anna Christie," "The Fall and Rise of Susan
Lenox," "The Sin of Madelon Claudet," "Are
These Our Children?" "Devotion," "A Free
Soul" and dozens of other splendid pictures,
nevertheless these films are thrilling enter-
tainment for anyone between the ages of
sixteen and one hundred and sixty.
They are real. They live and move. They
have organs and dimensions. They are fas-
cinating. So let's continue to have them.
We'll send the kids to see "Huckleberry Finn,"
"Tom Sawyer" and "Penrod." — Edward Or-
leans in the New York Mirror.
•"THE crisis is heartbreaking and no man can
•*■ regard it with indifference. What do do?
That is the question. Certainly the lovely
ladies and compelling men who bring romance
to the people in the movie houses that dot the
land must not be allowed to feel the pinch of
want and the pain of privation. No heroine
of the films can do her best work if she labors
under the annoying knowledge that until the de-
pression lifts, her weekly pay will be delivered
in six sacks instead of seven. — H. I. Phillips-
in the New York Sun.
1.
OTHER GIRLS POLITELY
SNUBBED HER
2.
MEN NEVER DANCED
WITH HER TWICE
SHE WAS BROKENHEARTED
BECAUSE PEOPLE DIDN'T
WARM TO HER
4.
THEN SHE SAW THIS
ADVERTISEMENT AND
bought LIFEBUOY
THAT VERY DAY
5.
NOW SHE HAS MANY
INVITATIONS. NO*B.O.*
TO KEEP HER UNPOPULAR
NO ONE IS
SAFE!
p<
*ORES are constantly giving offodor-
JL causing waste. Unless we take some
precaution we never know the moment
"B.O." {body odor) may offend. Play safe !
Wash and bathe with Lifebuoy. Its
creamy, abundant lather purifies pores —
removes all odor — removes germs.
Wonderful for skin. Complexions stay
fresh and glowing with Lifebuoy's care.
It's a real beauty and health safeguard.
It's pleasant, hygienic scent — that van-
ishes as you rinse —
tells you Lifebuoy
protects. Adopt
Li fe buoy today.
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IOO
Photoplay Magazine for March, 1932
Yes . . but
which
laxative?
lou complain of a headache. No pep. Just
don't feel right. "Guess I'll take a laxative,"
you say.
But which laxative? Isn't it only common
sense to take the one which most nearly dupli-
cates Nature's own way of acting? That's
Ex-Lax, the chocolated laxative.
Ex-Lax meets the Doctor's
requirements
A laxative, says the doctor, should limit its
action to the intestines.
It should not rush food through the stomach,
it should not disturb digestion.
It should be safe — and not be absorbed by
the system.
It should be mild and gentle.
It should not gripe.
It should not be habit-forming.
No secret about Ex-Lax.
Ex-Lax checks on every point!
Ex-Lax is a special scientific formula for the
pleasant relief of constipation. Its only medic-
inal ingredient is phenolphthalein — a laxative
universally recognized by physicians.
And it is the special Ex-Lax formula,
combining a delicious chocolated base with
phenolphthalein — of the right quality, in the
right proportion, in the right dose — that
accounts for the fine results that millions get
from Ex-Lax.
Don't gamble — get Ex-Lax !
Ex-Lax acts by gently stimulating the bowels
to action — naturally and surely. It exercises
the intestines — it does not force them! It does
not gripe — nor is it habit-forming.
If you are taking the wrong kind of laxative
now, get Ex-Lax tonight. At all drug stores,
ioc, 25c, 50c. Or mail coupon for a free sample.
lveep ^regular" with
EX- LAX
— the safe laxative
that tastes like chocolate
Advice on Girls' Problems
MAIL THIS COUPON— TODAY!
EX-LAX, Inc.. P. O. Box 170 .
Times-Plaza Station. Brooklyn. N. Y. A 32
Please send free sample of Ex-Lax.
Name
Address
| CONTINUED FROM 1'AGE 16]
in an eye lotion or witch hazel should be ap-
plied to the eyes while you lie down for a
fifteen minute rest.
Rest will eliminate dark circles, as will
proper diet. Careful massage with a good
cream will iron out those tell-tale crow's feet.
Exercise out of doors will bring a healthy
sparkle.
How does Constance Bennett keep such a
slender figure? How often I answer that ques-
tion. Those slender hips, that flat waistline,
those lovely, lean legs are all the results of
faithful exercise both indoors and out.
Here is a grand exercise to flatten the waist-
line to Bennett-like proportions. Lie flat on
your back, preferably on the floor. Then place
your right hand on your stomach, just below
the waistline.
Then lift the stomach slowly as far as you
can without straining yourself.
Then slowly lower the stomach as far as
possible. The slight strain you may feel, will
have no injurious effect.
Don't hold your breath as you do this. Keep
your mouth open and inhale as you go up, ex-
hale as you come down. Do this exercise ten
times in the morning and ten at night before
retiring.
'Any Woman Can
Be Beautiful"
That is what Carolyn Van
PHOTOPLAY a few years ago
to write on Girls' Problems,
proved it by metamorphosing
from plain, unattractive, self
sters into attractive, stunnin
Thousands of readers of
written to her during these
heartfelt gratitude.
Wyck wrote in
when she started
Since then she has
thousands of girls
-conscious young-
g young women.
Photoplay have
years, expressing
NOW
"The Hollywood Beauty
Shop"
Miss Van Wyck will, in next month's issue of
PHOTOPLAY, inaugurate the finest beauty de-
partment ever offered American young woman-
hood. Hollywood is acknowledged to be
the beauty center of the world and taking up
her residence there, she will give you, not only
the benefit of her long experience as a beauty
and cosmetic expert, but convey to you by
wonderful, especially posed photographs of
the beautiful women of the screen, all they
know about how to improve looks and per-
sonality.
Watch for the beginning of PHOTOPLAY'S
"HOLLYWOOD BEAUTY SHOP." Tell your
news dealer to be sure to save you a copy.
It will appear exclusively in
PHOTOPLAY
the 15th of March on all newsstands
Photoplay Magazine for March, 1932
IOI
Everyone envies Madge Evans her fresh,
natural looking beauty. Her face radiates
good health and care. How does she do it?
She follows a simple daily beauty routine.
This same eminent doctor whom I mentioned
before, says that the simplest beauty treat-
ments are best and most effective. lie says
that the skin is an auxiliary to the lungs, it
breathes, takes in oxygen and is an absorbing
organ. Therefore, if you would avoid enlarged
pores and ordinary skin blemishes, you have
to keep your skin free to breathe normally.
Internal and external cleanliness is essential
to natural beauty. Always remove make-up
with a good cleansing agent. Never fail to
wash the entire body with soap at least once a
day. When using a bath powder or talcum,
see that it is light in texture so that it will not
clog the pores.
Apply a cream rich in oils but not too heavy
in texture. And be careful of the base you use
for your make-up. It should not be a coating
upon which the powder lies like a blanket, it
Doesn't sophisticated Connie look
ingenue in this charming picture?
Perhaps it is her gown of brocaded
white satin, with its flattering roll
collar of the material. Notice where
la belle Bennett wears her gardenias
— on the shoulder they would have
spoiled her neckline
xT/ (' y^lXlJ^ You cant have any tense, tell-
*>***' ^-^i ,rh Chewing gum is the quickest
tale lines, especially around your mouth- Chew ^g^ ^ tf ^
Up beauttner and facial known. It resu ts j^
chewWngley's delicious »•«" "'"^ * J^Uness of face.
hablt, the permanent result is an amazing, fresh, n
1T.S A «CT-C^^^^i»W^
• That is why double mint is so P y
M-9
&*!£$%
WRIGLEY'S
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and a brand-new
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This is the "powder that is pure" . . . that
is made in the Luxor laboratories. That is
sifted fine through tight-stretched silk. That
is fragrantly scented, and perfectly blended.
This is the "powder that is pure" that
will bring petal-smoothness to your skin.
And a new delicate transparency ... a
charming, natural bloom.
You'll like the Cold Cream Facial Soap
too. A bland and mild cleanser, it leaves
your skin refreshed and glowing — all ready
for Luxor face-powder to transform it to
satin-smooth beauty!
A full-sise box of the face-powder, a free
cake of the soap . . . the "Luxor Special"
that will do wonders for your skin. The cost
is but 50c! Can you resist such a reasonable
investment — or forego brand-new beauty
of complexion?
This offer is made for a limited time
only. So go soon to your
toilet-goods dealer who dis-
1'hotoplay Magazine for March, 1932
should merely be an agent that leaves the skin
soft and receptive to make-up.
And while I am on the subject, may I make
one admonition? When you find your skin be-
coming irritated with blemishes — don't fran-
tically try every salve or remedy that you hear
about. Rather go sanely about it. Ask your-
self what is wrong with your diet. Question
your daily beauty routine to see if perhaps you
may be using a powder or cream that is not
suited to your individual skin. Cosmetics are
like hats, one type is not becoming or suited to
every woman. You have to try on several
before you find the one that is right for you.
Sally Combis:
No one with your attractive coloring of au-
burn hair and brown eyes need worry about
looking plain! Play up the reddish tints in
your hair.
Choose such warm, rich colors as, deep
orange reds, all shades of brown, deep and light
greens, blues in both deep and vivid hues,
white and black with a color accent or white.
Since your skin is light, I would suggest using
a cream powder, coral rouge and lipstick. Ex-
periment a little with different ones.
You are very lucky to be just the right
weight for your height, and age.
Donna :
Use a cream with an oil base. Apply it liber-
ally, leaving it on for at least a half hour. You
will find that a dry, scaly skin needs stimulat-
ing. The following treatment is simple and
very effective.
After you have used a cleansing cream.
Wipe it off, then take a pad of cotton and cover
it with a square of gauze. Dip the pad first
into your cream and then into a dish of table
salt. Rub this over the skin gently, using a
rotary motion. Do this until the skin tingles.
Next apply the cream again and again until
you have completely removed every vestige of
salt.
Warm olive or facial oil applied to the face
after this is alto beneficial. Be sure, how-
ever, to remove the oil carefully and tone your
skin with a good tonic.
Don't wear extremely high heels if you want
to cut down your height. A medium heel is
smarter and better looking.
plays the "Luxor Special." ^&?-~
Luxor, Ltd.
Luxor, Ltd., 1355 West 31st Street,
Chicago, Illinois
I enclose 10c for a generous sample of
the face-powder. Check Rachel,
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Name
PP-B
You are only a few pounds underweight so
there is nothing to worry about.
Helen:
Continue to use the peroxide, it eventually
discourages the growth of hair. It takes con-
siderable time, however, so do not become dis-
couraged. I would suggest adding a few drops
of household ammonia to the solution.
Billie:
I am afraid you have confused posing and
poise. The two are not the same. You can
not adopt a pose and keep it for very' long be-
cause it is false and sooner or later you will be
found out. Poise is the assurance which comes
when you know that you look and appear well.
It is natural, not forced.
Blue-eyed blondes have an easy time choos- I
ing costume colors because there are so many
that llatter them. They look lovely in p
such as yellow, pink, blue, green and ol
Orange reds, nearly all shades of blue, rich
browns and black with white are charming or '
them.
Ruth:
Don't become discouraged about making
friends readily the first few months at college.
It is always a little hard to break the ice when
you are transplanted into new surroundings
and friends.
There is nothing the matter with your per-
sonality; you have become a little self-con-
scious, that is all. Join into class activities and
club work. If you are athletic, go in for that.
Nothing will get you acquainted and "in"
quicker than taking part in school activities.
Rosemary:
Your sort of sensitiveness is nothing but self-
pity. You need to take things less seriously. -
Nothing is more fun than being able to retaliate
gaily to friendly teasing.
Of course, laugh it off — and furthermore,
have something to say back. Xo one who is a
good friend is going to deliberately hurt your
feelings.
If you think the teasing is intended to be
catty then just dismiss the person who does
it from your mind.
AtlJras_
MMMMMMXWXMMMMyMWMWXMWMMMMX
"And with this ring . . ." Let this picture be a warning to all directors.
Monta Bell discovered Betty Lawford when she was playing in a Broad-
way production and gave her her first screen role. Not long ago Mayor
Jimmy Walker listened to their "I do's." Betty played in "Secrets of
a Secretary"
low Garbo's Fear of
People Started
Photoplay Magazine tor March, 1932
4-"
io
[ CONTINUED TRO.M PAGE 29 ]
;nees, and she looks at her own long, awkward
Bgs and could die of shame. Her feet and her
lands get in her way. Her energy taken up
rith too much growing, she has not enough
eft with which to feed her mind. She usually
ags in her studies. This is a fact that all school
eachers know. They learn about it in their
lormal school courses.
Such was Garbo's experience. At thirteen
he was as tall as she is now, and her feet and
lands were as large. She wears a seven and a
lalf shoe. Lathering faces in the Swedish
Mirber shop, and later working in the millinery
lepartment of a Stockholm store, she felt thai
11 eyes were upon her. The shame of con-
.picuousness, a shame more devastating than
iny other, was her constant companion. I do
lot need to go into this further. Every tall
rirl knows about it, and every tall girl will
sympathize with Garbo.
THEN came the amazing sequence of events
that took her to America. Her tallness
seemed worse in Hollywood, since most of the
screen stars were dainty, petite women.
Ruth Biery, who wrote for Photoplay the
>nly life story of Garbo from Garbo's own lips,
1 story which in part has been quoted through-
DUt the world (and incidentally the very last
interview that Garbo ever gave), tells a story
ibout Greta that illustrates the point.
The appointment between star and writer
was made for dinner at Garbo's hotel, the El
Mirosol. Garbo had not wanted to give the
nterview, she had been forced to do so by her
manager, Harry Edington. She was ten
minutes late, and later she confessed that she
had been pacing up and down her apartment
trembling with fear, trying to get the courage
to face a stranger who was going to make her
talk about herself.
The first words she said were, "Pardon this
woolly coat, but it is the kind they wear in
Sweden." She was afraid Ruth wouldn't
think her dressed correctly — would laugh at
her.
Prodded by the clever interviewer, she be-
gan to talk. Suddenly she stopped, "But you
wouldn't understand. You laugh at me,
maybe." She was afraid of being laughed at
by a strange woman in a strange country.
I remember when I was in the publicity de-
partment at M-G-M, I took an interviewer to
see Garbo. Greta had just come over. When
the interviewer came back to my office she
said, "That girl has been hurt — deeply, ter-
rifically hurt. I wonder what it is?"
Well, what is it? Those are the facts. Garbo
was frightened. But why? Some people were
nice enough to her. Many tried to help her.
We were not, at M-G-M, as brutal as we have
been sometimes painted. But she would not
I accept that help. Why?
■""THE answer is the answer to every question
*■ asked about Greta Garbo. One name looms
large and conspicuous in her life. No serious
story about the star can ever be written with-
out a mention of Mauritz Stiller.
Stiller had told her, "These people are not
your friends. They do not understand you as
I do. They will seek to exploit you, to make a
fool of you. You have but one friend in this
entire country. I am that friend."
And Garbo believed him as she believed
everything he told her. She was afraid to be
seen having even the most casual conversation
1 with anybody lest Stiller discover her. Why
! Stiller imbued her with all this is another (and
! a more sordid) story with which we are not
! concerned at the moment.
But these were minor little fears compared
to the great one that rocked her during the
making of her second picture, "The Tempt-
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Photoplay Magazine for March, 1932
Stilkr began the direction of that pic-
ture. He was taken off and Fred Niblo was
given the job. What is more, Stiller's contract
was not renewed with M-G-M. Hub was a
circumstance she could not understand. Ib-
was the hero not only of Sweden but of all
artistic Europe as well. He was known as the
greatest of all the motion picture directors.
She was nothing in Europe. And yet it was
Stiller whose artistic integrity was assailed in
America. Stiller was chucked out of a job
as if lie were an office boy.
If the studios were powerful enough to do
that to him — the great one, what would they
her — the little one?
Tortured by these grave doubts, unable to
t Ik to anyone (since Stiller had bade her not
to do soi she refused to come to the studio and
discuss her contract. And it was at that time
that she got the reputation for shrewdness.
It was not shrewdness then, it was fear. The
shrewdness came later.
Garbo has not conquered agoraphobia and
anthropophobia. The block (as psychologists
have it) in her mind is loo deeply imbedded
there. She still shrinks from crowds. She still
shrinks from society. But something else, a
natural result of the fears that first gripped
her. has come to her.
Now people do not laugh. They may vilify
her in the public prints, they may hate her —
but they do not laugh. They laughed at -her
long enough. It is her turn now. It is Garbo
who does the laughing. And that laughter is
pitched in a deep, sardonic key.
SHE is the most bitter woman in Hollywood.
I've seen her come on to her set, making the
entrance of a queen, causing prop men to run
with chairs, great director to dash to her with
an inquiry about the state of her health, great
executives, fearful lest she not appear at all,
to mop feverish brows. And I've seen the look
in Garbo's eyes, a look of diabolic amusement.
'"So, a few years ago they did not care whether
Garbo lived or died. Xow they bow to Garbo.
Well, make them bow. Make them bend those
rusty knees."
People stare at her now — but not because
she is tall and awkward. They stare at her be-
cause she is the great Garbo.
Every night before she retires she reads
every word that is written about her in the
papers. And her big. booming laugh can be
heard by her servants throughout the house.
It isn't a pretty laugh. For it is tinged with
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It's so unnecessary, for just a minute
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the bitterness that only people who have been
tortured by one time phobias know.
She enjoys making the press trail after her.
When she first arrived in New York from
Sweden, wearing the funny little checked suit,
they took a few snaps of her and murmured,
"That girl hasn't got a chance." She loves
throwing M-G-M in a fever of excitement fot
fear she will not sign her contract and will take
herself, their little gold mine, away.
VW'HEX she first arrived Stiller had to
W the studio to make a screen test of a few
hundred feet of her. She gets great glee out of
quarreling with her manager, Islington. When
she first arrived she was completely intimidated
by him and must do whatever he said. She
adores ignoring the publicity department and
refusing to cooperate with them in any way.
When she first arrived she had to pose in bath-
ing suits and track suits, suffering acutely at
seeing her broad shoulders and big feet exposed,
as she compared herself with the slim low I
of Joan Crawford and Norma Shearer.
Oh, Garbo is a straight Case D psychologi-
cally. Its cause and effect, as simple as a movie
extra's mind. First the fear and now the bitter-
ness, her great chance to get even. Gar
even!
And yet the fear still crops up. Whei
returned from her sensational visit to New
York, Mrs. Bcrthold Yiertel, wife of the di-
rector, met her at the train in Pasadena. Not
even Mrs. Viertel knew Garbo's reservations.
Trailed by hordes of reporters, she rushed from
car to car. Other passengers greeted their
friends hysterically, ''Garbo's on this train.
Rush down here and you can see her."
Garbo stepped from the next to the last car
wearing her dark glasses and slouch hat. Mrs.
Viertel asked her to be a good girl and pose for
the newspaper men.
"No, no," cried Garbo. "They'll only ask
me embarrassing questions. Get me into a car.
Get me into a car."
Mrs. Viertel tried to persuade her. "Xol
Where is the car?'' Garbo persisted.
Conductors and porters ran interference for
her, warding off the newspaper cameramen,
as she made a dash for her automobile.
"But your baggage," Mrs. Yiertel screamed.
" Leave it. leave it. Somebody will come
back for it later."
An hour later. Garbo safe again in her h
behind her locked doors, the chauffeur ret
for her suitcases.
The Unknown Hollywood I Know
covnx. i :> i kom page 92
care. She figured that if the public did not
want to see her as she was. if her views could
not be expressed — then to the devil with that
public.
IF an interviewer did print what she had said
we were always called to the front office and
severely lectured. "Why don't you stop her
from saying those things?-'
Stop her from saying those things indeed!
You can't stop the frankest person who ever
lived from saying what she chooses.
One of the easiest girls to work with, from a
publicity standpoint, was Anita Page, but she
made her entrance into Hollywood on the
wrong foot. Here is the true story. When she
was living in Xew York, Anita wanted to get
into pictures. She registered at the different
casting offices. At last she had a call from a
certain manager representing the Kenilworth
productions. She made a test and was signed
under contract. She and her mother set out
for Hollywood.
In Chicago, the two were sitting in their
hotel lobby waiting to leave for the station. A
man was introduced to them as the head of
Kenilworth productions. He was Harry K
Thaw.
Anita and her mother were thrown into a
panic. Had they known that this notorious
character was connected with their company
they would never have signed the contract.
What could they do? Should Anita come to
Hollywood under such inauspicious circum-
stances? Should they turn and go back to New
York? But a contract had been signed. They
went on and in Hollywood secured a lawyer
who broke the contract. Anita then met Louis
B. Mayer and convinced him she could act by
weeping over his best mahogany desk and beg-
ging him to give her a chance.
THE publicity department was faced with a
difficult problem. What would this Harry
Thaw connection do to her career? We had
seen girls wrecked by scandal (true or f;
before. It was my task to wring the truth out
of \nita. so we could work out our stories.
I shall never forget that afternoon. I put
Anita through a session that would have done
A
Photoplay Magazine for March, 1932
io5
any first-class third degree department proud.
I threatened her, maligned her, got her mad
and appealed to her sympathies. She was com-
pletely worn down, but her story held up. She
could account for every second of her time
since she was born into the world. I realized at
last that it was simply through chance and
ignorance that Harry Thaw was connected
with her in any way.
In the meantime, other members of the de-
partment had been working on her mother.
The story stuck. It was all true. Now, what
were we to do? A conference was called. Some
were in favor of keeping Thaw's name entirely
out of it (her name had already been changed).
Hut others of us were against this, feeling that
if we tried to make a secret of it the papers
would dig up the story and put a wrong inter-
pretation upon it. We decided for once in our
lives to come clean and tell everything there
was to tell.
Leave it to Lilyan to find the unusual !
Now La Tashman comes out with
these tricky pyjamas in black satin
and white crepe. That longer coat
is a new idea, not to mention the
white scarf that pulls through a slit
in the coat. Do you note the high
collar line, even on pyjamas?
^yive tli on glii to your ROUGE
TO HAVE IT
NATURAL
ONLY if the color "seems
to come from within the
skin," does Rouge give
you bewitching Beauty
By Patricia Gordon
ROUGE that appears artificial de-
feats the very purpose for which
you use rouge. Choose, then, the
one rouge of which it may truly be
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one rouge is Princess Pat — because
none other possesses the almost
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You know, of course, that such
color as the cheeks possess nalu^
rally, shows through the skin, from
beneath. It has glow, radiance.
Actually, it is the blood showing
through the skin. Unfortunately,
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days. Then rouge must be the
resort of all.
Give to Your Cheeks the Wondrous Beauty
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If you've used only usual rouge, try Princess
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No flat, painty, artificial effect. Instead an
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Only the "Duo-Tone" Secret Can Give This
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"Duo-Tone" means that each
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Thus each shade of Princess
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Princess Pat rouge changes on
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Princess Pat Lip Rouge a ncic sensation —
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PRINCESS
A Marvelous Advantage in Selection of
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With usual rouge, you are restricted to just
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That must be so of "one tone rouge." With
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Photoplay Magazine for March. 1932
Strangely enough, it worked, and the re-
ined to feel that when everyoie
so frank there must he nothing to it. Very
soon it was all forgotten. Hut every time I see
Anita's big eves on the screen I think of that
afternoon when I put her through the third
degree.
X'jr was Anita's coming to pictures the only
inauspicious one recorded. There was Billy
Haines, for instance, who arrived at the studio
with a cold in his head and a boil on his nose.
Xo wonder they made him play milkmen and
plumbers. Nobody thought the kid had much
until, because no other actor was available,
they gave him the name role in "Brown of
Harvard." It was his big chance and he made
the most of it.
Billy Haines is, without doubt, the most an-
noying person I've ever known. Oh. mind you,
I think he's a swell guy but his delight in up-
setting dignity is something almost poetic in
the fineness of its fervor. He can no more resist
pulling a gag than Peggy Hopkins Joyce can
resist a marriage license.
One day I took a very dignified member of
the press out to his set. Let it be said in the
lady's defense that she had, before her arrival
in Hollywood the week before, been assigned to
write political news in Washington and she
knew almost no one in pictures.
She asked Billy if he had any exclusive news
for her. " Yes, I have," said Billy. " I'll give
you the exclusive announcement of my engage-
ment. I'm going to marry Polly Moran."
He expected her to laugh. She didn't. She
had never heard of Polly. "Oh, that's fine,"
she said, "now tell me all about it."
It was as good as Billy wanted. His eyes
glowed with the fire of creation and — fixing
Anita Page and me with a steely gaze and
daring us to laugh— he went on, "Miss Moran
comes from the old Virginia Morans. Her
people were all famous fox hunters."
rT"HE newspaper woman busily took down
-*- her notes, beaming with delight.
"Her father not being here, Louis B. Mayer
will officiate and we'll be married in a church —
a big affair. Miss Moran will wear duchess
lace — a gift from her grandmother. It was
worn at the wedding of all the Morans. We
will have the ceremony solemnized beneath a
bower of lilacs."
"Thanks so much," said the reporter. "I'll
wire this story at once to my paper."
We turned to go. Billy called me aside.
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" Listen here," he said, "if you tell her the
truth, I'll put ground glass in your coffee. This
is the best gag I ever pulled. Tell her and I'll
murder you— do you understand?''
I was torn between fear and duty. If Billy
discovered that I told her, my life would be a
burden of practical jokes. If I let the story go
through she would be furious and the studio
would never get another line of copy from her
powerful newspaper.
AT last I had a brilliant thought. "Polly
■* *-Moran is working on this stage," I said as
we walked along. " Would you like to get more
details from her?"
We went on the stage. "Polly — Polly
Moran," somebody called, "we're ready for
your scene now." And the newspaper woman
saw the real Polly Moran of the old Virginia
fox hunters.
Later, when' the story did not appear, Billy
accused me of having snitched. "I swear I
didn't," said I, "she just happened to see
Polly."
Hollywood is a strange town — as perhaps
these stories have already shown you. Not
long ago somebody asked me to recount the
most incredible sight I'd ever seen in the film
colony. That was a poser, but I do believe
that the Savior on a bicycle seat is the weirdest
thing I've ever seen. H. B. Warner, if you
remember, played the Ckristus in "King of
Kings." In the final scene he was suspended
from the cross. The problem was how he
could hang there without doing himself bodily
harm. Somebody had a thought. They at-
tached to the cross a bicycle seat and, with
hands and feet supposedly nailed, Warner was
able to take the weight off his arms by resting
upon the bicycle seat which did not show in the
picture. Surely that's fantastic enough for
anybody.
Is there any sin in Hollywood? That's
the question I'm going to answer next
month. You can trust me to be honest.
I haven't been cagey with you yet,
have I? I've discussed everything
perfectly frankly and I promise you
this won't be the average stuff written
about Hollywood sin. I won't trick
you. Next month I'll also tell you
about the coming of the talkies and
give you, among others, the inside
story of Renee Adoree's departure for
the Arizona sanatorium
When I Faced Death
CONTINUED FROM PAGE 56
wearing it a little too far down to be in style
with Mayor Jimmy Walker.
•"PHKY now ransacked the joint, counted all
•*- the tools, saw that they had everything that
belonged to them, took all they wanted out of
me, put back what they couldn't use and
I could, makin' sure I wasn't holdin' out on
them.
Cowpunchers can be pretty slick at times,
but try and get away with anything on one of
those personally conducted tours, with stop-
over privileges at selected points of interest,
with those eagle-eyed nurses giving the once
and all over. Glad they didn't have any of
them for brand inspectors in the days of my
cattle-rustling past.
On the way up to my room, I saw a couple
of birds standing in one of the halls. I didn't
like the look they gave me — reminded me of a
time a strange cowhand stopped overnight at
the ranch, and I saw him eyeing a certain
horse in the corral, and next morning both
stranger and horse were gone. Found out
later that these boys went by the handle of
the "death watch" and I was a prospect
eighteen carat fine. They stuck around till
daylight — it being two A. M. then — waiting
for me to "cronk out" as they say it here.
I now arrive at my room on the clean fifth
and elite floor. The reason they sent me back
from whence I came, they thought I would
not be long any place, except the place you
stay longest. So they said I could stay here
if I promised to be a good boy and not shoot
up the place, or insist on riding Tony up and
down the halls, when I got to feeling better.
Xow I am getting along fine and if they want
to keep me here much longer, they'll have to
allow me to sleep with my boots and spurs on,
as this is the longest I have been out of them
to date.
WHEXT I am turned loose back home on the
home range. I will be Simon pure and fit
as a fiddle. Thankful to everyone for their
help and always remembering that God sure
enough rode night herd on me.
Photoplay Magazine for March, 1932
j(>7
The Shadow Stage
The National Guide to Motion Pictures
(REG. U. S. PAT. OFF.)
[ CONTINUED FROM PAGE 51 ]
THE SUNSET TRAIL— Tiffany Prod.
TT'EN MAYNARD'S horse, Tarzan, and a
-^small boy named Buddy Hunter really walk
off with the acting honors in this shoot-'em-up
Western. There is the usual blonde to be saved
from a bunch of black-hearted wretches; this
time they are trying to scare her into selling
her ranch. Ken Maynard, of course, turns the
trick with fist and gun. Ruth Hiatt is the
rescued damsel. Good riding and lots of
shooting.
CAIN— Talking Picture Epics
A MODERN Robinson Crusoe story, not as
■**• idyllic as the lovely "Tabu," but enter-
taining in spots and sometimes very beautiful.
Although it is a French-made film, what little
dialogue there is (and most of the scenes are
silent) is in English. It was photographed on
an island off the coast of Madagascar and
points out the conflict between a lonely para-
dise and civilization.
THE LOCAL BAD MAN—
Allied Pictures
A RATHER mild Western with Hoot
-**• Gibson gone a little naive. Not much
story or action to this one and everybody is
just so tined when they hold up that train. A
wasted evening for adults. Sally Biane is the
girl who just knows Hoot can do no wrong.
MICHAEL AND MARY— Universal-
Gainsborough
•"PHIS film, made in England from the play by
•*- A. A. Milne, boasts Herbert Marshall and
Edna Best, the two real life love birds who
wouldn't be separated even for a few weeks.
But those who wrote theater mash notes to
Marshall (when he appeared in the stage play
Those gay little tams that turn up in
the back, only to zoom down over
the right eye, have turned to straw
this Spring. This fetching one worn
by Kathryn Crawford is made of a
dull prystaline straw. Two ostrich
pompons point toward the eyeline
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Photoplay Magazine for March, 1932
"Tomorrow and Tomorrow") will be dis-
appointed in him in this slow-moving, over-
talkative "Enoch Anlcn" story. He should
have another chance. Wife Edna is winsome
and pretty and that's about all.
THE U. S. C.- NOT RE DAME FOOT-
BALL GAME—Sono Art -World Wide
p< )R those who love football this is one of the
■*- greatest spectacles of the year. The combat
thai has been called "the greatest game in foot-
ball history" is here shown play by play (many
of the shots in slow motion | with all the sus-
pense, action and excitement of the original.
And when the Trojans defeat the fighting Irish
in the last two minutes of play you'll be lifted
out of your seat. Every football fan must see
(ids:
STEPPING SISTERS— Fox
A DULL farce, with a couple of faint
■**■ snickers buried in the overdone slapstick,
the tedious direction and the song and dance
numbers. Louise Dresser, Minna Gombell and
Jobyna Howland, as three burlesque queens,
two of whom try to play the society game,
work their little fingers to the bone in a futile
effort to drag something out of this that isn't
there.
NIGHT BEAT— Action Pictures
'""TRYING to cash in on the waning gangster
■*■ picture vogue this "quickie" attempts to
glorify the law, with amusing results. But the
producers didn't mean to be amusing and that's
why Patsy Ruth Miller and Jack Mulhall (Jack
used to be a big star) have such a tough time
making it even passable.
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FILE 113— Allied Pictures
A PICTURE that fails to click in spite of
■* *• the splendid work of Lew Cody, Clara
Kimball Young, George Stone and Buster
Collier. The story (written many years ago)
about a famous detective who has the knack
of solving crimes of all sorts with no apparent
effort, has not been sufficiently modernized to
seem even probable.
TEX TAKES A HOLIDAY—
Argosy Prod.
■""PHIS story of a Mexican cowboy wanders
*■ here, there and everywhere but it does most
of its rambling in color, some shots being really
beautiful. The picture, however, is much too
antiquated for modern audiences. The kids
may like it. Wally MacDonald and Virginia
Brown Faire have the leads.
TWO SOULS (ZWEI MENSCHEN)—
Cicero Prod.
C ACRIFICE is the theme of this story, a
'-'drama of love and religion, with enough
bright spots for those who do not like heavy
drama. The scenic shots of the Tyrolese
country are beautiful. Because of the English
titles the story will be clear to those who do not
know German.
FORGOTTEN WOMEN— Monogram
A/TARPON SHILLING, Carmelita Geraghty,
-I VI Virginia Lee Corbin and Edna Murphy are
all attractive to the eye, which is about as much
as you can say for this story of a cub reporter
on a big daily. Rex Bell is the pencil and note-
book boy.
What Really Happened to Buddy Rogers
I CONTINUED FROM PAGE 30 ]
Mary Pickford signed Buddy to appear
opposite her in "My Best Girl." Together
with her husband, Douglas Fairbanks, Man-
shared the publicized spotlight of screen
royalty. She signalized aloofness from the
dark swirl of passions that spurt and foam from
the springs of Hollywood emotions.
Buddy was among the chosen few invited to
Pickfair, a charming house in the hills of
Beverly. Charles Farrell, one of his closest
friends then, was also to be among the few,
later, but now —
'TTIE boy from Olathe, Kansas, rose to heroic
*■ social heights.
But again his nemesis, ridicule, thrust him
back into the male Pollyanna class for, with a
crash of publicity cymbals, Paramount blared
their boy, Buddy, forth as "America's Boy
Friend."
The reaction was anything but favorable.
Buddy sought solace in his musical instru-
ments.
He did more. He made a date with the vivid
Latin screen personage who had called him
"ga-ga."
He primed himself for the date. He gloomed
over his titles: the no-boy, the apron string
puppet, "America's Boy Friend."
Buddy was not quite himself that evening.
His blood boiled and his heart hammered it
through veins accustomed to it cool and
tempered.
With a grind of brakes, Buddy drew up to
the beautiful home of his date. He rang the
doorbell. The butler opened the door. Grimly,
Buddy stalked to the drawing-room where she
who had insulted his manhood by branding him
"ga-ga" awaited in all her effete beauty. Light-
ning crackled his brown eyes, eyes usually so
mild and gentle.
Before his hostess could say more than
"Hello," Buddy had reached to her, pulled her
to her feet, crushed her in his arms. She was
warm, fragrant, a mite of a trick, albeit on
occasion she had been known to enforce an
argument with an uppercut that would have
done justice to Jack Dempsey in his prime.
"I'm ga-ga, am I?" shouted Buddy from his
anguish, or words to that effect. "Well, sir,
I'll show you who's ga-ga!"
He pressed masterful lips to the lips of his
unresisting prisoner.
"I'll show you," he half-sobbed in defiance
to all his tormentors, or still words to that
effect.
"Here, here," she interrupted, exercising the
strength with which nature had blessed her.
" You're in a lava, mv lad. Sit down and cool
off."
Was it Buddy's fault that experience and
courage forsook him at this critical moment
and left him a poor second to the firmness of
her who keeps him, now, among her amusing
souvenirs?
IN the rationalizing light of a new day, the
fiasco of the night before must have been just
a bottle of white rock that didn't fizz when
opened.
However, Buddy had been pursued before.
A certain star, whose name would surprise you
if you knew it, looked upon Buddy's handsome-
ness and fell hard. And Hollywood gasped
when they learned her name. The gasp in-
creased to a stifled shriek when it became
known that a delivery' car from a smart haber-
dashery had stopped in front of Buddy's house
and left a gift package containing twelve
magnificent pairs of silk pajamas. Had he ever
had silk pajamas before? Never, returned the
echo.
Photoplay Magazine for March, 1932
109
But Buddy later found to his relief that all
femininity in Hollywood is not necessarily
aggressive. Not all girls were of the attacking
sex.
There was Mary Brian. Buddy rushed
Mary at a pace that augurs seriousness.
Mary soothed the wounds of vanity. Mary
responded sympathetically to his musical am-
bitions. Mary was girl and woman and from
her emanated a motherly sweetness that Buddy
craved.
BUT he was not ready for matrimony. His
pace slackened. His direction wavered and
focused on June Collyer. He began to pay
court to June. Mary and June appeared with
him in a picture, "River of Romance." It
should have been a situation.
It wasn't, for Buddy. His eyes favored
June, and Alary, her hurt her own, turned to
others and where love had been anticipated,
friendship alone remained.
And now, having achieved the eminence of a
male, a man who made his own engagements,
who lived his own life secure from the bolder
ladies, Buddy permitted himself to expand and
to voice his ideas of love and marriage. He
liked Mary and June and Florence Hamburger,
the Los Angeles society girl with whom he used
to go and who is now married. He liked many
girls, in and out of pictures, but he wouldn't
marry until he met the right one. In her, he
idealized the virtues of the Victorian and the
Jazz Ages.
He may find her. He is not in Hollywood
today.
Paramount refused his plea for dramatic
roles. Even after "The Lawyer's Secret," in
which he became Charles and smoked his first
cigarette, the studio refused him further
dramatic roles.
So Buddy is in New York, the metropolis
that has acclaimed him wildly before, ac-
claimed him for the very qualities Hollywood
laughed at. The effort he has put into a
musical future is being realized in a salary
approximating ten thousand dollars a week
derived from the stage, the radio, and his own
band.
HpHREE thousand miles away, Hollywood
-^ considers Buddy Rogers in a more reflective
light as radios are tuned to his program. They
remember yesterday and the boy who came out
of Olathe, Kansas, to be Peter Pan and their
no-boy.
They read of him today, the boy who must
still call the police reserves in New York to
protect him from the frenzy of admirers; who
is successful, wealthy, sought after.
He is twenty-eight, and the demands of
crowding days and evenings of work and play
have mellowed his youth, his naivete, his
frankness.
Charles Buddy Rogers, secure in a new field
of popular favoritism and a tremendous and
assured income, is tooting his saxophone at
Hollywood, notes that resemble razzberries.
March Birthdays
March 1 — John Loder
March 3 — Edna Best, Jean Harlow, Ed-
mund Lowe
March 4 — Dorothy Mackaill
March 1 1 — Lois Moran
March 16 — Junior Coghlan, Conrad Nagel
March 18 — Betty Compson, Rosita Moreno,
Edward Everett Horton
March 22 — Bernice Claire
March 23 — Joan Crawford
March 24 — Jameson Thomas
March 25 — El Brendel
March 27 — Gloria Swanson
March 29 — Warner Baxter, \Vheezer (of
Our Gang)
March 30 — Anna Q. Nilsson
March 31 — Eddie Quillan, Victor Varconi
w
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MAN?
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Photoplay Magazine for March, 1932
Lost Her Boy
Friends Because of
**:A
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Depicting the physical charm and attractiveness which
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fll\>iei\e oCHO„°E TReAire
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Telling on Norma
CONTINl ED FROM PACE 55 ]
is undone and is beautifully curled. Then she
reaches for her strong white brush and with
firm determined stroke brushes out every single
vestige of curl.
She has the satisfaction of knowing she did
curl her hair, anyway.
Her eyes are small, expressive and very blue.
Her teeth are strong and very white. Her hair
plain brown. But a glistening, well-brushed
brown.
SHE plays the piano rather well. Her hands
are long and slender, but surprisingly
strong.
In one scene in " Private Lives" she was to
smack Robert Montgomery's face right
smartly with her left hand. Not able to con-
trol the swing of her left arm, she let out a blow
that smacked an amazed and thoroughly
stunned Mr. Montgomery directly through a
screen. Where he lay gasping like a fish while
Norma looked on in horror. They shot the
scene exactly as it happened. And caused a
riot with the fans. Who little dreamed how it
really happened.
Her one ambition as a child was to be a
famous and spectacular athlete. The kind that
swims channels and crawls up buildings.
Human fly fashion. Her heart was set on the
human fly business. She plays a good game of
tennis, swims well and is an excellent skier.
Landing, nine times out of ten, on her skis. To
her own delight and surprise.
She drinks a glass of hot water with lemon
juice in it every morning after her setting up
exercises. But she doesn't believe in sun
baths. Thinks women should keep fair to be
lovely.
She's tried and tried, but simply cannot
bring herself to get under a cold shower. But
will plunge into the coldest pool without a
qualm.
Her feet are always cold. Winter or summer
her feet are cold. Even in a heat wave.
Especially during heat waves, as a matter of
fact.
Norma Shearer goes about the studio quietly
and even submissively. Asking no favors. She
actually goes to extremes to show that because
she is the wife of an executive she expects no
favors.
THE entire studio adores her. And she never
suspects how much. And would weep with
gratitude if she knew.
But they have to threaten all sorts of dire
things before she'll pose for photographs. But
once let the urge seize her, nothing can stop
her. She'll go steadily for days. And pose for
hours at a time. She'll drag every garment she
owns to the photographer and there she'll sit.
Eor days. Until actually the poor photog-
rapher weeps with fatigue. Then she won't go
again for a year.
She never knows any Hollywood gossip, but
loves it. Knows she'd make a perfect movie
fan.
Recently, for the first time since she's been
working at M-G-M, she made a trip with
friends to the different sets. She sh-h-h-h-h'd
her guests half to death, stole meekly across
sound stages and stood there, like a tourist
from Kansas, thrilled to death.
She says herself she's as patient as a cow.
Doesn't mind waiting dinner for her husband
or dinner guests and can't imagine why any
hostess should be disturbed by her tardiness.
Heaven knows it never bothers her when
people are late.
If there is one kind of person she dotes on,
it's that willing person that joins in on an im-
promptu good time. A "come on, let's go
places" person. Who always goes at the drop
of the hat.
She uses one scent. With toilet water to
match. And won't tell its name. Hates to
write. And sends all her messages by wire.
Has only the deepest disgust for telephones.
And is constantly surrounded by phones that
ring madly.
She loves stage actresses. And will go home
from the theater and imitate them by the hour.
Sweeping grandly before her mirror. Gestur-
ing and acting. Until her husband swears she
must have a fever.
"DANS. Crowds of people outside theaters
■*- thrill her to death. She would, if permitted,
linger among them for hours, signing auto-
graphs.
Once, coming out of a hotel in London, she
found a crowd of people milling about to
glimpse her. Pleased, and puffed up at the
unexpected attention, she entered her car and
drove to a theater. With a bit of pity for the
Prince of Wales whom she pictured at that
very moment as being absolutely devoured
with envy. At the theater she was amazed to
find another crowd. Demanding autographs
and plucking at her coat. "How ever did you
know I was coming to this certain theater?"
Norma asked one. 'Oh, we didn't," he re-
plied, "you're just an accident. We're waiting
for the star."
And did Irving Thalberg shout! But Norma
has a grand time laughing at herself.
"COR some reason she never has a cent of
-*- money.
And keeps dashing in and out of shops to
borrow from her chauffeur. Who keeps
plenty handy for that very purpose.
She's a great actress in real life and puts on a
grand show. Of a charming, worldly-wise
woman.
As a matter of fact, she's pretty well
frightened three-fourths of the time. And,
terribly unsure of herself.
And, oh yes. I must make a list. I must
write on that list to speak to Norma about the
way she swings with both feet up on that
screen door of her dressing-room while she
talks.
Some day that screen will break and Norma
will go hurling over that rickety bannister.
And if ever that should happen, a million
hearts all over the world would break.
Eor Norma Shearer.
| CONTINUED FROM PAGE 67 ]
"Alas." thought I, and so did others, "the
same old Miriam. If she has anything to give
to pictures, I'm Eddie Cantor's five daugh-
ters!"
Just another job of work by just another
ingenue- -except that she was a little more
colorless and more plain than some. And
when other inconspicuous Hopkins talkies
came along, I conveniently forgot and went to
a newsreel.
Then I went to "The Smiling Lieutenant,"
to see Chevalier grin — but what I did see was
Photoplay Magazine for March, 1932
I I I
Here is Miriam Hopkins at the age of
two and a half, way down South in
Georgia
what was billed as Miriam Hopkins! What a
woman as the little princess! What charm,
what grace, what vivacity, what oo-la-la and
vum-yum! My hat! Your hat! Queen Marv's
hat!
Somehow, sometime, snickering Fate had
dealt her a mess of glamour! In some inscru-
table fashion she was no longer a scrawny and
colorless girl, but a woman full of danger and
allurement! As the dance-hall girl in "24
Hours'' she repeated the dose, doubled and
redoubled — what a luscious picture she made
in that.
AXD now, in Freddy March's newest essav,
"Dr.Jekyll and Mr. Hyde," our li'l Miriam
really comes of age. As one watches her bril-
liant performance in Fearless Fred's support,
the feeling comes that here is a real somebody,
a power and a personality in the making of
talking shadows!
Out there in the Hollywood jungles there
roams, practically unchecked, a vivid woman
and an exceptional actress. It's "Li'l Gawgia"
Hopkins, the girl from Savannah, and it's safe
to predict —
Whoa! What a rotten predictor I turned
out to be!
I watched that girl, on stage and screen, for
a matter of nine years, and I could see no more
future for her than awaits an old studio gate-
man who snoozes the sunny hours away. And
now look what she's done to me!
Yep — I'll take a chance. I'll say that 1932,
if it gives her a good shake in the matter of
roles and directors, will make Miriam Hopkins
one of the outstanding screen figures of the
day.
A XD here it is in writing!
-**■ Well, it just goes to show that, well, it just
goes to show.
By one of the blinding, blistering miracles
that life delights in committing, now and then,
a blank cartridge among ingenues has been
changed into a siege-gun shell destined to blast
a big niche for her in the fortresses of film-
land.
Anything can happen now— you and I had
better run for President on a Know-Xothing
Ticket!
What did it?
Good old Glamour, whatever that is! You
tell me.
Gosh and gee whillikins. kids, if they only
sold that stuff in drug stores!
\ccK Yum
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Nature's warning that you are "catching
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I I 2
Photoplay Magazine tor March. 1932
What Do You Want To
Know About The Pictures?
Is it a good picture?
Is it the kind of picture I would like?
Which one shall we see tonight?
Shall we take the children?
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PHOTOPLAY MAGAZINE
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What The Audience
Thinks
| CONTINUED FROM PAGE 10 j
GABLE TRIBUTE
Clark Gable has charmed me out of twenty
years of despondency. During that time I
have waged a desperate battle with a suicide
complex. In all that time the movies have
been my greatest solace. For the time being
1 would forget that constant planning to end
it all. However, it was not until I saw Clark
Cable the second time, that, suddenly, I
didn't want to die. Life was beautiful and
worth while. What does anything matter
when I can look forward to seeing Clark on the
screen? Isn't it the most ridiculously amusing
thing? At the same time, isn't it perfectly
wonderful? Can you explain it? I can't. I
don't try very hard. I just accept it and am
thankful.
Edith F. South Gate., Calif.
PRO AND CON JOAN
Why does Joan Crawford try to imitate
Garbo? She must sit up nights studying the
Viking Venus. My idea is that us Garbo-ites
will not have carbon copies — so Joan, stop
wearing gray slouch hats and above all don't
try to imitate Garbo's eyes.
Florence Bolder, East Hartford, Conn.
Why doesn't Joan Crawford get the praise
that's due her? She could have taken any one
of Norma Shearer's last three pictures and
done them as well, if not better than Shearer,
without the affected giggle.
Betsy Baer, Chicago, 111.
JACK OR CLARK
Just a short while ago John Gilbert's name
was on every lip. We girls raved on and on
about him. And, now, what has happened?
Instead of Gilbert it's Clark Gable. And
Gilbert has almost faded out of the picture.
I don't think it fair. Gilbert is as good an
actor as ever and just as handsome. I, for
one, shall remain an ardent Gilbert fan re-
gardless of all the Gables or what have you.
Mrs. B. De.vby, Brooklyn, X. Y.
FIRST GABLE FAN
When I saw Clark Gable as an extra in a
picture about two years ago I recognized his
ability, and, what's more, I wrote him and
wished him all the luck in the world. It was
the only fan letter I have ever written and con-
tained no request for anything. But just the
same I received an autographed photograph by
return mail. I am sure I shall be a Gable
admirer long after feminine bosoms have
ceased to heave whenever he comes into view.
Barbara Phillips, Cambridge, Mass.
WORLD THOUGHTS
Why isn't there ever a line about Victor
Varconi? I hope there will be more publicity
soon for that divine actor.
Lory Aoller, Vienna, Austria
I adore Norma Shearer for her acting ''al-
though I do dislike her roles), and for her clear
pronunciation, but it is Warner Baxter who
has made me sit back and relax when he talks,
for I understand him perfectly. Ramon
Novarro is still the supreme idol of most of us
down here, for his extreme boyishness, ro-
mantic appeal, and now his splendid voice.
He is the best understood of all the stars, for
he speaks exactly as most of our friends,
cousins and brothers do.
Trinidad Ramirez de Arellano, Manila, P.I.
In the "Brickbats & Bouquets" depart-
ment we like to compare our opinion with that
of your American readers, who see the pictures
so much earlier than we do. Lucky people!
John Schepers, Antwerp, Belgium
In Malaya, it is really out of the question
to see stage plays like "The Last of Mrs.
Cheyney," "Journey's End," etc. But now,
thanks to the talkies, not only can we enjoy
them, but we can afford to see them several
times over. Novels are very expensive here
and so naturally one cannot afford to buy all
the books written by favorite authors. Again
we must thank the talkies for having trans-
lated such books as "All Quiet on the Western
Front," "The Divorcee," "Trader Horn," etc.
Goh Cheng Eng, Penang, S. S.
Many of the college stories are not life-like.
"Confessions of a Co-Ed" caused me serious
trouble. My mother and I live in a country
place and do not often go to the movies, but
we saw this one. My mother was saving up
for me to go to college, but when she saw this
picture she said I could not go after all. It
took my uncle and me a long time to convince
her that it was only a story.
May Redo, Mexico, D. F.
Several theaters in Paris show English talk-
ing films. My friends and I appreciate them
greatly. The directing is skillful and the casts
always splendid, but why are the majority
of stories so poor? My American friends agree
with me. Why don't companies that are
willing to pay third-rate actresses like Con-
stance Bennett $30,000 a week spend more
money on stories?
Helene Lune, Paris, France
This is an appeal for Frank Fay pictures.
All his films have proved amusing and interest-
Photoplay Magazine for March, 1932
ing, only unsatisfactory because there are not
enough of them.
A. Harris, Montreal, Canada
John Gilbert and Clara Bow are not through.
Clara has had a lot of tough luck and we all
admire her for her courage in trying to come
back. She has a good voice and has nothing
to fear from the microphone.
Fans still like John Gilbert. He made a bad
picture in "His Glorious Night," and people
said he was finished, but that was disproved
in "The Phantom of Paris." I saw that picture
several times and would like to know what star
could have given as splendid and as dramatic
a performance as Gilbert. His voice was
natural and better than many voices of male
stars I have heard.
Hilda Graham, Vancouver, Canada
I am told that Mary Pickford once acted
splendidly as Judy Abbott in "Daddy Long
Legs," but I know nothing about it. I only
know that "Daddy Long Legs" is produced
again splendidly by Janet Gaynor and Alfred
Santell, the director. Many of the scenes
make my heart move.
Hiroshi Nagae, Tokyo, Japan
LESS TALK, MORE LOVE
Something drastic will have to be done
about the love scenes in the talkies. As it is
now, our favorite stars are pathetically funny,
saying the silly lines they have to repeat over
and over again. Why not limit the lines to a
few expressive words?
Ruth Douglass, Council Bluffs, Iowa
ART WITHOUT A COUNTRY
Many of the letters state that we should not
patronize foreign stars, but should give the
IJ3
Americans a chance and incidentally keep the
money among Americans. It seems to me the
American actors and actresses have the best
chance from the beginning, with no accents to
conquer, and if they fail to "come across"
whose fault is it?
Are we to lose the artistry of a Garbo,
Arliss or Dietrich because they were born in
Europe? I fail to see the connection between
nationality and artistry. When George Arliss
gives us one of his inimitable performances
and speaks English as it should be spoken no
one grudges him the money he makes. We
are the better for having seen and heard him.
Rose Taprock, Buffalo, N. Y.
CHEER UP, LIL
"The Woman From Monte Carlo," in which
Lil Dagover makes her movie debut, will suit
the kind of audience that likes real drama of
the inevitable, as in Greek tragedy. Those
who prefer for their suspense the unexpected-
ness of cheap melodrama, will not be so
pleased. Miss Dagover is an entirely different
type of heroine, making one think of Gloria
Swanson at times, of Greta Garbo often. She
will give them all a race for laurels, providing
her producers give her real plays. Like Ruth
Chatterton, she is a real actress.
Emeroi Stacy, Portland, Ore.
THAT BLOND GENE
"Ladies of the Big House" was wonderful.
Sylvia Sidney gives a fine performance. But
you should see her leading man, Gene Ray-
mond, tall, handsome, blond and with a charm-
ing smile. He is a relief from Clark Gable.
Miss Vallory, Newark, N. J.
Gene Raymond is a different blond hero.
Personally, I never liked blond men before
It's the amount and grade of CHICLE
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Photoplay Magazine rou March, 1932
j^ONE
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THAT IS
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Enjoy the difference today be-
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ege Inn
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Photoplay's Wonderful
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It will be the most complete and helpful
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There you will find all the latest beauty
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There you will find, prepared for you
with startling pictorial clearness, the
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Carolyn Van Wyck is now in Holly-
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Watch for it in the
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PHOTOPLAY
cither on the screen or off. But now I'm all for
Gene Raymond.
Ann Labuckas, Chicago, 111.
AN ENGLISH COMPLAINT
How much longer will it be before British
pictures are given a fair showing in the United
States? Certainly some of our films are very
poor but there are a lot of darn good ones
which deserve universal success. Our players
get no publicity in the American press and are
consequently unknown to the American pub-
lic, yet seventy-five per cent of the film news
in the English press concerns American picture
players.
Leslie J. Crocker, Middlesex, England
YOU DON'T KNOW MAC?
I arrived at our neighborhood theater to
discover that almost every seat was taken and
I saw that the majority of those present were
children. When Graham McXamee's face ap-
peared on the newsreel screen the applause
completely drowned his greeting. A little girl
sitting two seats from me asked. "Who's
that?" The one next to me said, "Why, that's
Graham McNamee!"
Mere words can't convey her apparent shock
at the colossal ignorance of the one who did
not know Graham McXamee.
Mary \V. Wallace, Atlanta, Ga.
JOAN'S GOOD EXAMPLE
A little ten-year-old girl I know had taken
piano lessons for about a month and was
getting bored with them. She and I went to
see Joan Crawford in "Possessed." She heard
Joan play and sing and right then and there
her former interest in the piano lessons was
revived. So far, Joan's influence is still going
strong, for the little ten-year-old practices
diligently so she can "play like Joan did."
Perhaps Miss Crawford did not do the playing
but what does that matter if she was just pre-
tending. She did a lot of good.
Dorothy Reed, Scranton, Penna.
QUEEN MARIE
Be it rain or shine it's standing room only
when Marie Dressler's name is blazing from
the electric signs, for some actresses are good
in some pictures and not so good in others
But Marie is good in everything.
Myrtle Kaufman, New York City
PERSONAL OPINIONS
My opinion of Hollywood's gossip hounds is
that they are jealous of Jean Harlow's loveli-
ness and her personality. They realize they
are not so pretty as Jean.
Doris Smith, Davis, 111.
Gloria Swanson is the greatest actress of
them all. "Tonight or Never" was great.
Xew stars may come and go but Gloria goes
on forever.
Harry R. Brake, South Milwaukee, Wis.
Photoplay combines everything that other
magazines spread out for pages, in a short,
interesting, easy-to-read manner, with nothing
missing.
Dorothy Dorse y, Philadelphia, Penna.
Robert Montgomery does a certain type of
sophisticated comedy that is splendid and he
has a charming style all his own.
Betty Barnsdall, Cannes, France
Let us have more pictures with Helen Hayes,
whom I consider the greatest actress ever to
grace the talking screen.
John Wells, Los Angeles, Calif.
I find so much greater pleasure in reading a
book after having seen the picture made from
it.
The characters are infinitely more real to me.
Marian Petrie, Seattle, Wash.
Ramon Novarro does not have to wear a
uniform before he can act. What about "Ben
Hur"?
What other star would have put that nasty
make-up all over his entire body, to make it
look scaley? Also remember "The Pagan''
and "Where the Pavement Ends."
Marie J. Wagner, Denver, Colo.
Don't pluck your eyebrows, Clark Gable.
Only sissies do that. .You should remain the
he-man you are.
D. Ridings, Dayton, Ohio
If Hollywood is overflowing with beauty and
talent, why in the name of Garbo can't they
find some of it to put in a few of those terrible
short subjects?
Jim Boothe, Sweetwater, Texas
Joan Blondell is not only the cutest and
peppiest blonde in Hollywood but she has a
pleasant voice as well and I could sit for hours
just looking at her.
Joan Graham, Oakland, Calif.
Photoplay Magazine for March, 1932
People have to blame something for making
their children bad so they are picking on the
movies.
Clarence Lonto, Shakopee, Minn.
They can talk about glamour but personally
I prefer sweetness and simplicity.
Betty Drummond, Orono, Me.
Directors are as important as the stars. No
matter how talented are the actors, no matter
how good or novel is the story, it is the director
who is responsible for the success or failure of
the finished film.
Mary Lane, Wellington, New Zealand
TOM MIX
For miles I drive my rattling Ford among
dense fields of sugar cane, and suddenly emerge
into a village whose inhabitants are "gooks" —
a mixture of Oriental races. However, enough
of the population is Japanese that theirs is the
common language and theirs is the movie
theater where I see brilliant banners in red and
blue floating from long poles to announce the
show.
Yes, they are talkies. Usually the picture
is a Japanese one with real Japanese actors,
but sometimes I see Tom Mix. Then I am
especially early at the show.
You who enter thoughtlessly, those luxurious
picture houses in the States to see the latest
films, stop sometimes to think how much
happiness can be gleaned in a little rough
board theater half hidden among the sugar
cane of Oahu.
Mrs H. E. Tomlinson,
Waialua, Oahu, Territory of Hawaii.
RANDOM THOUGHTS
I am sorry to learn that Leslie Howard
doesn't care for Hollywood. I think he is a
IT5
fine actor and would like to see him in more
movies.
Mrs. W. E. Wells, New York City.
If Sylvia Sidney were starred in more pic-
tures, Greta Garbo would be forgotten en-
tirely.
Miss Sidney is one actress of whom the fans
will never tire.
Sylvia Gridley, Syracuse, N. Y.
I spend lots of money on shows. Every time
Elissa Landi is playing, I drag my family to
see her. I would rather see her than Clara Bow.
Melba Sadewhite, Marshall, Mo.
To my way of thinking Mae Clarke in
"Waterloo Bridge" does more real acting than
Constance Bennett has achieved in her entire
" talkie" career.
Ruth Ely, St. Paul, Minn.
Why give all the praise to Clark Gable?
What about Robert Montgomery? He has
more wit, personal appearance and technique
than Gable ever thought of having. Bob
Montgomery has been my favorite ever since
I saw him in "Shipmates."
Evelyn Kiefer, Rochester, N. Y.
Not only do I think Eric Von Stroheim a
consummate actor and a unique director — a
genius — but I think he is the most fascinating
man I've ever seen. One glance is sufficient to
show that his is a background of breeding
and culture.
Compared with Mr. Yon Stroheim, these
popular matinee idols seem inane.
Mildred H. Hudson, Washington, D. C.
Never before have we had a screen star like
Joan Blondell. She has good looks, personality
and she is a great actress and a trouper.
M. Reisiseck, Denver, Colo.
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Photoplay Magazine for March, 1932
Screen Memories From Photoplay
15 Years Ago
T>r. Werce's Prescription
HOW TO REMOVE THEM
A simple, home treatment — 25
years success in my practice.
Moles dry up and drop off.
Write for free Booklet.
WM. DAVIS, M.D.. 124-D Groye ATe..Woodbridge. N.J.
Marie
Dressier
R%^H '"THIS department has
JH) _™ -A- often wept over the
P^ - ^ passing of the one-time
|T< -A great and glamorous stars.
— ■ We printed this picture of
Marie Dressier and the
<■ caption under it read:
"Marie Dressier is now a
star in her own comedy
company, valued at two
millions."
Here's something else that doesn't change.
In our editorial we got as excited as a politician
on election day over the ubiquitousness of the
movie butler. Said we: "Pictures have passed
the boob stage and yet the screen butler per-
sists. The bachelor is not allowed to hang his
own pants in his own closet and the business
man cannot put away or get his coat or hat
when he exits or enters." The film butlers and
gentleman's gentlemen are in pent houses now,
but they're still their obsequious selves.
But there are heart throbs in this issue, too.
The beautiful girl in riding habit is Seena Owen
whom we called the loveliest siren of the
screen. Professionally, Seena is almost for-
gotten, but she hasn't forgotten her friends.
During the long months when Lila Lee was
regaining her health at an Arizona hospital
recently, Seena was one of the few faithful ones
who made the trip to see her time and again.
The girl on the cover was Mary MacLaren,
who may come back any day, and the gallery
included Marguerite Clayton, Antonio Moreno,
Edna Hunter, William Courtleigh, Jr., Jackie
Saunders, Wilfred Lucas, Lois Weber and
Marie Chambers.
Pictures reviewed were: Geraldine Farrar in
"Joan, the Woman," Douglas Fairbanks in
"The Americano," Marguerite Clark in "Snow
White," Lenore Ulric in "The Road to Love"
and Ethel Barrymore in "The Awakening of
Helena Ritchie."
Cal York item: Mae Murray has become
the bride of Jay O'Brien. (She was later
married to Robert (Director) Leonard and is
now married to Prince David Mdivani,
brother of Pola's ex.)
10 Years Ago
Theodore
Roberts
"V"OU thought gangster
•*■ pictures were some-
thing new, didn't you?
No, there's nothing novel
under the cinema sun, for
ten years ago we ran an
article called "Underworld
Life in the Films" and it
kidded the then-recent
cycle of crook pictures.
There were vice rings and
"moll buzzers," but we didn't take them so
seriously as we do now. Incidentally, the
piece was written for Photoplay by Willard
Huntington Wright, whom you know as S. S.
Van Dine, the creator of Pliilo Vance, who then
was a steady contributor to the magazine.
Under a picture of Rudolph Valentino we
wrote "Even in these days of dismal depression
in motion picture production (times were bad
then, too) his services are being eagerly
sought." On the opposite page he gave his
views about women and one of them read, "I
would not care to kiss a girl whose lips were
mine at our second or third meeting." And
that was Rudy! On the screen, the cave-man
(they were cave-men then) Rudy had, in
reality, the heart of a simple Italian boy.
There were two pages of horrific pictures,
one showing Lon Chaney achieving some of his
weird make-up effects, and the other of Theo-
dore Roberts, getting emotional with his
trusty cigar. Three brilliant performers —
Rudy, Lon and Daddy Roberts! All gone!
Olga Petrova was the cover girl and pictures
of Rex Ingram with Alice Terry (whom he had
just married), Helen Ferguson, Thomas
Meighan, Alice Calhoun, Wally Reid and his
son Billy, Charlie Chaplin, and Carol Dempster
graced the gallery.
The best pictures were "Orphans of the
Storm," "Miss Lulu Bett," "Boomerang Bill,"
"Three Live Ghosts" and "Red Hot Romance."
Cal York items: Bill Hart and Winifred
Westover are on their Honeymoon . . .
Marilyn Miller issued an indignant denial that
she was to marry Jack Pickford . . . Mabel
Normand's health is bad again and the brilliant
little comedienne has not been able to start
her scheduled picture for Mack Sennett.
5 1
ears
Ago
Joan
Crawford
STARIXG out from
among the pages of five
years ago is a picture of
Lois Wilson with bobbed
hair, and the story which
accompanies it is plentiful
with words of defiance
hurled by Lois. She says
she is sick of being sweet
on the screen. She swears
she is interesting and has
personality and will prove it. Poor Lois! A
great story will some day be written about her.
She's the girl who was born to be a satellite,
invariably revolving in the orbit of a great
star — once it was Gloria Swanson, now it is
Ruth Chatterton. But they say she blossoms
forth in a new role in the forthcoming Chic
Sale picture "Slice of Life."
You'd never believe that those two pictures,
on opposite pages, are of Norma Shearer and
Joan Crawford. Is it possible that five years
can make such a difference? Norma is a
smiling young woman with demure curls and
bangs, while Joan is buxom and untidy. Not
a trace of the glamour which is later to sur-
round them can be seen in either. If you
covered up their names under the pictures, I
defy you to recognize them. Norma was, at
the time, a star; Joan just a small part player.
Promises were made but to be broken!
We recount the story of the discovery of
Jimmie Murray by King Vidor and we quote
Jimmie as saying, "I'm going to keep my
mouth shut, do what Mr. Vidor tells me and
make good or bust. I won't have any alibis if
I don't make good." All right, Jimmie,
you've got no alibis. You had the biggest
chance of any young fellow in pictures, but
you sold it for a — well, not for a mess of
pottage. And you didn't do what Mr. Vidor
told you, lad.
Arlette Marchal (who started out big and
flopped) was on the cover this month and
gallery pictures were those of Gloria Swanson,
Billy Haines, Clara Bow, Natalie Barrache,
Anna Q. Nilsson and Charles Ray.
Here were the six best films of the month,
"The Kid Brother," "The Fire Brigade,"
"Tell It to the Marines," "The General,"
"Blonde or Brunette," and "The Music
Master."
Photoplay Magazine for March, 1932
117
Brief Reviews of
Current Pictures
I CONTINUED FROM PAGE 14 ]
• SECRETS OF A SECRETARY — Paramount.
— The actors make this worth the price.
C'laudette Colbert is fine and that Herbert Marshall,
from the stage, is one of those men you don't forget.
(Sept.)
SECRET WITNESS, THE— Columbia.— ZaSu
Pitts as a flustered telephone operator adds her usual
deft humor to a mystery with a double murder and a
couple of suicides. {Feb.)
SECRET SERVICE— Radio Pictures.— Adven-
tures of a Nortliern spy behind the Confederate lines.
Richard Dix tries too hard. (Dec.)
SHANGHAIED LOVE— Columbia.— Mutiny and
gory evil-doings at sea. Too much dialogue. Not
enough action. (Nov.)
SHERLOCK HOLMES' FATAL HOUR —
Warners-First Division. — British-made mystery film,
rather long-drawn-out but not lacking in interest.
Sherlock Holmes and Walson solve another murder
mystery. (Sept.)
SHOULD A DOCTOR TELL?— Regal Prod.—
Dreary talk about dreary ethics. Who cares? (Nov.)
SIDE SHOW— Warners.— Winnie Lightner and
Charles Butterworth try hard, but the un-funny
lines are distressing. A circus story. (Sept.)
SIDEWALKS OF NEW YORK— M-G-M— A
laugh a moment and just the right number of
moments with "dead pan" Buster Keaton, Cliff
Edwards and Anita Page. (Oct.)
Aside from being a very charming
pose of Claudette Colbert, this pic-
ture has fashion distinction. A
black woolen frock has the unusual
trimming of white angora on sleeves
and collar. Note the epaulet effect
which gives the broader shoulder
line that Seymour has been telling
you about. And what a pert feather
on Claudette's black felt turban!
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Pho.oplay Magazine iok March, 1932
SILENCE — Paramount. — Sure-fire melodrama
with a punch. Clive Brook, Marjorie Rambeau and
Peggy Shannon. (Oct.)
• SIN OF MADELON CLAL'DET. THE—
M-G-M. On< of the greatest mother stories
ever filmed, with Helen (stage) Hayes pulling at your
heart-strings. Don't miss it. (Dec.)
SKIN CAME, THE— British International.—
Pretty tedious. An excellent English cast, however.
(Sept.)
SKYLINE— Fox.— Thomas Meighan builds sky-
scrapers and saves Hardie Albright from vamp
Myma Loy. Good entertainment. (Oct.)
SMART WOMAN— Radio Pictures.— What a
performance Mary Astor gives and in what beautiful
clothes! \ charming, sophisticated yarn of the
"Holiday" school. (Oct.)
SOB SISTER— Fox.— Youll like this fast news-
piper yarn and Linda Watkins. Jimmie Dunn is
grand, too. (Nov.)
SOOKY — Paramount. — Even if this does resemble
"Slrippy," without equalling its success, young and
old will like it. The gangs all there (Jackie Cooper,
Rob-rt Coogan and Jackie Sear!) with tears and
laughs. (Feb.)
SPECKLED BAND, THE— First Division —
Sherlock Holmes is at it again, finding sinister East
Indian death methods used in an English country
house. (Jan.)
SPIDER, THE— Fox.— Thrills and shivers over a
murder in a theater. Eddie Lowe is grand and
suspense is geared on high. (Oct.)
• SPIRIT OF NOTRE DAME, THE— Uni-
versal.— Knute Rockne lives again in this
powerful football story with Lew Ayres and the real
Notre Dame team. (Dec.)
SPORTING BLOOD— M-G-M.— The biography
of a race horse. Not interested? All right, then,
Clark Gable has a featured role. That should get
you. It's a good movie. (Sept.)
SPORTING CHANCE, THE— Peerless Prod.—
The famous young jockey throws the race, but is re-
deemed bv the love of the stable owner's daughter.
(Jan.)
• STAR WITNESS, THE— First National —
At last! An entirely new plot with suspense,
humor, heartache. Walter Huston, Chic Sale and
Frances Starr are in it. Worth your time. (Sept.)
• STREET SCENE— United Artists.— Thirty-
four excellent actors and super-direction by
King Vidor make this one of the great pictures of
the vear. A vivid cross-section of life you'll never
forget. (Oct.)
• STRICTLY DISHONORABLE— Universal.
— You'll love this story of the grand opera
singer captured by the innocent little girl from
Mississippi. Paul Lukas, Lewis Stone and Sidney Fox
all great. (Dec.)
STRUGGLE, THE— United Artists.— Old Massa
D. W. Griffith has lost his cunning with the mega-
phone and this old-fashioned, phony. "Face on the
Barroom Floor" melodrama is a sad spectacle for
those who remember "The Birth of a Nation." (Feb.)
STUDENT'S SONG OF HEIDELBERG, A
(Eln Burschenlled Aus Heidelberft)— UFA— Rol-
licking tunes, students and Heidelberg campus stuff.
Even if you don't know German you'll enjoy it. (Nov.)
SUICIDE FLEET— RKO-Pathe.— The war on a
wit and wisecracking basis with Bob Armstrong,
Jimmy Gleason and Bill Boyd as the familiar Three
Musketeers — this time in the Navy. (Jan.)
SUNDOWN TRAIL— RKO-Pathe.— Good acting
helps a poor Western. (Oct.)
SURRENDER— Fox.— Warner Baxter and Leila
Hyams just work their fingers to the bone trying to
make you believe this story about a French officer im-
prisoned in a baron's castle. (Jan.)
• SUSAN LENOX, HER FALL AND RISE
— M-G-M-. — Romance spread thick, passion
strong. You Garbq-maniacs will eat it up. Clark
Gable plays opposite. Don't miss it. (Sept.)
TAXI — Warners. — The lowdown on the taxi-cab
racket, with James Cagney and Loretta Young.
Well-done. (Jan.)
TERROR BY NIGHT— Famous Attractions. —
Bet you can't guess before the last reel who did the
murder. A good mystery with comical Una Merkel
and ZaSu Pitts. (Dec.)
THIRTY DAYS— Patrician.— A wealthy tene-
ment owner plays the regeneration scene in jail.
Hetty Compson and Maureen O'Sullivan make it en-
tertaining. (Jan.)
THIRTEEN MEN AND A GIRL— UFA— A
dreary tragedy. Foreign made, English dialogue.
{Oct.)
THIS MODERN AGE— M-G-M— Joan Craw-
ford lovely and dripping box-office appeal in a
ridiculous story. {Not.)
TIP OFF, THE— RKO-Pathe— Fresh guy Eddie
Ouillan gels mixed up with gangsters and a sprightly
comedy is the result. (Jan.)
• TONIGHT OR NEVER— United Artists —
A Gloria Swanson vehicle that sizzles and burns
with snappy love scenes. And there's a new sex
appeal lad named Melvyn Douglas. For the sophisti-
cated. (Jan.)
• TOUCHDOWN — Paramount. — A football
picture that s different — with inside stuff on
crooked methods used. Dick Arlen and Jack Oakie.
(Jan.)
• TRANSATLANTIC — Fox. — Edmund Lowe
and Greta Nissen plus an exciting melodramatic
plot, make this one of those hit pictures you mustn t
fail to see. (Sept.)
• 24 HOURS — Paramount. — It's not only good
but different. Kay Francis and Clive Brook
are grand. (Now.)
UNDER EIGHTEEN— Warners.— A neat little
picture. Marian Marsh s first starring one. about an
innocent cloak model and a rich client. (Feb.)
IN EXPECTED FATHER. THE— Universal.—
Another little girl adopts a bachelor daddy. Ho-
hum ! Four-year-old Cora Sue Collins todd:
with the honors. (Feb.)
UNHOLY GARDEN, THE— United Artists-
Far-fetched melodrama and romance in a Sahara
castle, with Ronald Colman working hard to save
the impossible story. (Oct.)
UNION DEPOT— First National.— Bits of life as
you see it in a railroad station. Doug Fairbanks. Jr..
turns in a splendid performance, one of his best
• WATERLOO BRIDGE — Universal. — It's
morbid, yes, but it's intelligent and honest
screen fare. A war background, but don't let that
stop you. You'll like Mae Clarke. (Sept.)
WAY BACK HOME— Radio Pictures.— If you
follow Seth Parker on the radio, you'll enjoy seeing as
well as hearing him. He uses all his radio stuff. (Dec.)
WEST OF BROADWAY— M-G-M.— John Gil-
bert's voice is low — so is the entertainment value of
the picture. Jack is a war veteran with six months
to live. (Oct.)
WHITE DEVIL, THE— UFA.— Russians in big
fur hats are doing serious things again. You need not
bother. (Nor.)
WICKED — Fox. — Elissa Landi and Victor
McLaglen -are good in a too heavy drama about a
bank robber and his wife who go to jail. (Oct.)
WILD HORSE— Allied.— Hoot Gibson captures a
wild horse, a bank bandit, a murderer and his
audience's approval, all in one handsome gesture.
(Sept.)
WOMAN COMMANDS, A— RKO-Pathe.— Pola
Negri in her comeback film is beautiful and alluring,
but the story is trite and impossible. See Pola,
anyhow. (Feb.)
WOMAN OF MONTE CARLO, THE— First
National. — Lil Dagover bows to American audiences
in a weary, over-talkative drama. Lil could do belter
with better material. (Feb.)
WOMEN GO ON FOREVER— Tiffany-Cruze —
Your old friend Clara Kimball Young makes a good
comeback in this story of racketeers and illicit love.
A lively film with plenty of comedy relief. (Sept.)
WOMEN MEN MARRY — Headline Prod. —
Don't take this picture too seriously and you may
not find it too dull. Sally Blane is nice and Natalie
Moorhead wears startling clothes. (Sept.)
WORKING GIRLS — Paramount.— Two beauti-
ful country blondes learn about life in the city. But
not even Paul Lukas and Buddy Rogers can make the
story and dialogue seem real. (Jan.)
X MARKS THE SPOT— Tiffany Prod.— Another
gangster-newspaper story" inspired by the Lingle case.
Pretty poor, except for a terrific climax. (Jan.)
YELLOW TICKET. THE— Fox.— Russia before
the revolution. The heroine fights for her honor. Old
st 11 tT made worthwhile by Elissa Landi and Lionel
Barrymore. (Jan.)
Photoplay Magazine for March, 1932
ii9
Short Subjects
of the Month
A new film to tickle the fancy of sports lovers. Ice hockey
fans will be thrilled by "He-Man Hockey," a short re-
viewed below. Here you see Joe Jerwa, Alex Cook and F.
Jerwa, of the Boston Bruins, who cut plenty of capers
HE-MAN HOCKEY
Educational-Brown Nagel
Come on, you hockey fans — don't miss this
short! Bill Cunningham takes you right into
camp with the fast skating Boston Bruins.
Want to know how hockey teams train? This
will show you.
INCREDIBLE INDIA
Fox
This is one of the very best of that splendid
" Magic Carpet" series. And you mustn't miss
it, no matter how blase you've become about
travelogues. The shots of elephants at work
is one of the most remarkable ever filmed.
SMART WORK
Educational-Cameo
A very amusing marital quadrangle makes
the plot of this funny comedy. A lawyer un-
wittingly shadows the husband of a client to
his own doorstep and wife! Billy Dooley and
Addie McPhail head the cast.
CAMPING OUT
RKO-Palhe •
Did you ever go camping with the wrong
people? Then you'll sympathize with the
folks in this story. There are some fairly new
gags and it's entertaining enough. You'll
enjoy Florence Lake and Dot Farley.
POTTSVILLE PA LOOK A
Educational-Scnnett
That funny team, Harry Gribbon and Babe
London, who care for each other in a big way,
are at their best in this prize-fight comedy. The
fight is a scream.
SQUARING THE TRIANGLE
Vitaphone
Remember Donald Brian, who created the
role of the Prince in "The Merry Widow" so
long ago? He's the leading character in this
short about a suspicious husband who returns
home unexpectedly. It's mild screen fare, but
Brian is good.
DREAM HOUSE
Educational-Scnnett
This is another one of the comedies featuring
the famous radio crooner, Bing Crosby. Bing
seems more at ease in this quite amusing skit
than in previous ones. You'll like his songs.
CLOSE HARMONY
Paramount
The Boswell sisters, whom you've been hear-
ing on the radio for quite a spell, show their
faces to the camera. They are nice faces, too.
The idea of this amusing sketch is that the girls
sing in the barnyard and inspire the chickens
and the cows to better efforts.
FOR THE LOVE OF FANNY
Educational- Vanity Comedies
The usual college rah rah plot is made un-
usually funny by the appearance of Glenn
Tryon in a dizzy striped bathing suit and silk
hat. His best girl won't say yes until he be-
longs to a certain fraternity, so he endures
much horseplay at the hands of his rival.
THE JAZZBO SINGER
Columbia
A grand burlesque on all the back stage
stories ever filmed. Literally, it's monkey
business, since the cast is played by monkey
actors and some of the lines (spoken by real
people) are very funny.
ROAD TO ROMANCE
Educational-Brown Nagel Prod.
Claude Flemming finds a romantic journey
right here in America this time. He takes you
on horseback through one of the magnificent
Western canyons. The color photography is
superb.
In ) I AQsCXTCVOA
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Photoplay Magazine for March, 1932
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Addresses of the Stars
Hollywood, Calif.
Paramount Publix Studios
Adrienne Ames
Richard Arlen
George Bancroft
Tallulali Bankhead
( ieorge Barbier
Clive Brook
Eleanor Boardman
William Boyd
John Breeden
Chas. D. Brown
Maurice Chevalier
Juliette Compton
Jackie Coogan
Uob-rt Coogan
Gary Cooper
Frances Dee
Marlenc Dietrich
Claire Dodd
Tom Douglas
Junior Durkin
Stuart Erwin
Marjorie Gateson
Tamara Geva
Wynne Gibson
Phillips Holmes
Miri.irn Hopkins
Fredric March
Marx Brothers
I.cniia Lane
Carole Lombard
Paul Lukas
Jeanettc MacDonald
Sari Maritza
Frances Moffett
Rosita Moreno
Jack Oakie
Vivienne Osborne
Eugene Pallette
Ramon Pereda
Irving Pichel
Gene Raymond
Charlie Ruggles
Jackie Soarl
Peggy Shannon
Sylvia Sidney
Lilyan Tashman
Kent Taylor
Regis Toomey
Allen Vincent
Judith Wood
Fox Studios, 1401 N. Western Ave.
Frank Albertson
John Arledge
Warner Baxter
Joan Bennett
El Brendel
Joan Castle
Paul Cavanagh
Virginia CherriU
William Collier, Sr.
Koxanne Curtis
Jesse DeVorska
Donald Dillaway
Allan Dinehart
James Dunn
Sally Eilers
Charles Farrell
Janet Gaynor
Minna Gombell
William Holden
Olin Howland
Warren Hymer
J. M. Kerrigan
James Kirkwood
I'lissa Landi
Helen Mack
Kenneth MacKenna
Mae Marsh
Victor McLaglen
Thomas Meighan
Una Merktl
Don Jose Mojica
Conchita Montenegro
Goodee Montgomery
Ralph Morgan
Greta Nissen
George O'Brien
Lawrence O'SuIlivan
Maureen O'SuIlivan
Cecelia Parker
William Pawley
Yvonne Pelletier
Gaylord Pendleton
Howard Phillips
Tcrrance Ray
Manva Roberti
Will Rogers
Peggy Ross
Raul Roulien
Rosalie Roy
George E. Stone
James Todd
Spencer Tracy
Linda Wat kins
Marjorie White
Charles Williams
Elda Vokel
Radio Pictures Studios, 780 Gower St.
Mary Astor
Roscoe Ates
Evelyn Brent
Joseph Cawthorn
Lita Chevret
Ricardo Cortez
Lily Damita
John Darrow
Dolores Del Rio
Richard Dix
Irene Dunne
Jill Esmond
Noel Francis
Roberta Gale
Morgan Calloway
John Halliday
Hugh Herbert
Lcyland Hodgson
Rochelle Hudson
Kitty Kelly
Geoffrey Kerr
Rita LaRoy
Dorothy Lee
Eric Linden
Phillips "Seth Parker "
Lord
Joel McCrea
Ken Murray
Edna May Oliver
Laurence Olivier
William Post
Lowell Sherman
Ned Sparks
Ruth Weston
Bert Wheeler
Hope Williams
Robert Woolsey
RKO-Pathe Studios, 780 Gower St
Robert Armstrong
Constance Bennett
Bill Boyd
James Gleason
Ann Harding
June MacCloy
Pola Negri
Eddie Quillan
Marion Shilling
Helen Twelvetrees
United Artists Studios, 1041 N. Formosa
Ave.
Eddie Cantor
Charles Chaplin
Ina Claire
Ronald Colman
Melvyn Douglas
Douglas Fairbanks
Jean Harlow
Al Jolson
Evelyn Lave
Chester Morris
Mary Pickford
Gloria Swanson
Norma Talmadge
Columbia Studios, 1438 Gower St
Eddie Buzzell
Richard Cromwell
Susan Fleming
Ralph Graves
Jack Holt
Buck Jones
Loretta Savers
Barbara Stanwyck
John Wayne
Culver City, Calif.
Metro-Goldwyn-Mayer Studios
Nils Asther
William Bakewell
John Barrymore
Lionel Barrymore
Wallace Beery
Charles Bickford
Herbert Braggiotti
John Mack Brown
Jackie Coop* r
Joan Crawford
Kathryn Crawford
Marion Denies
Reginald Denny
Marie Dressier
Jimmy Durante
Cliff Edwards
Madge Evans
Wallace Ford
Clark Gable
Greta Garbo
John Gilbert
Charlotte Greenwood
Nora Gregor
William Haines
Helen Hayes
Hedda Hopper
Leila Hyaras
Dorothy Jordan
Buster Keaton
Myrna Loy
Joan Mar>h
John Miljan
Ray Milland
Robert Montgomery
Polly Moran
Karen Morley
Conrad Nagel
Ramon Novarro
Ivor Xo vello
Anita Page
Ruth Selwyn
Norma Shearer
Lewis Stone
LawTence Tibbett
Ernest Torrence
Hal Roach Studios
Charley Chase
Mickey Daniels
Dorothy Granger
Oliver Hardy
Mary Kornman
Stan Laurel
Gertie Messinger
Our Gang
David Sharpe
Grady Sutton
Thelma Todd
Universal City, Calif.
Universal Studios
Lew Avres
Tala Birrell
John Boles
Lucile Browne
June Clvde
Bette Davis
Sidney Fox
Rose Hobart
Boris Karloff
Bela Lugosi
Slim Summerville
Sally Sweet
Genevieve Tobin
Lois Wilson
Burbank, Calif.
Warners-First National Studios
George Arliss
Richard Barthelmess
Joan Blondell
Lilian Bond
Joe E. Brown
Anthony Bushell
Charles Butterworth
James Cagnev
Ruth Chatterton
Donald Cook
Lil Dagover
Bebe Daniels
Douglas Fairbanks,
Jr.
Kav Francis
Ruth Hall
Ralf Harolde
Walter Huston
Leon Janney
Evalyn Knapp
Winnie Lightner
Ben Lyon
Mae Madison
David Manners
Marian Marsh
Marilyn Miller
Dorothy Peterson
William Powell
James Rennie
Edward G. Robinson
Chas. "Chic" Sale
1 r tta Voung
Polly Walters
Warren William
Long Island City, New York
Paramount New York Studio
Nancy Carroll
Claudette Colbert
Frank Morgan
Charles Starrett
Hollywood, Calif.
Robert Agnew. 6357 La Mirada Ave.
Virginia Brown Faire. 1212 Gower St.
Lane Chandler, 507 Equitable Bldg.
Llovd Hughes. 616 Taft Bldg.
Harold Lloyd. 6640 Santa Monica Blvd.
Philippe De Lacy. 904 Guaranty Bldg.
Los Angeles, Calif.
Pat OMalley. 1832 Taft Ave.
Herbert Rawlinson. 1735 Highland St,
Ruth Roland. 6068 Wilshire Blvd.
Estelle Taylor, 5254 Los Feliz Blvd.
William S. Hart. Horseshoe Ranch. Newhall, CaBf.
Patsv Ruth Miller, 808 Crescent Drive. Beverly
Hills. Calif.
George K. Arthur and Karl Dane, Beverly Hills, Calif.
Photoplay Magazine for March, 1932
121
A Gallant Mother
[ CONTINUED FROM PAGE 45
dicing in her garden, an old straw hat perched
on top of her red-blonde hair, her arms bare to
the shoulder, as many freckles will testify.
Some days she must have forgotten the hat,
for a little row of tiny freckles runs across her
uptilted nose.
A A AE was digging in her flower beds when
■'•'■'■she was called to the telephone.
"Oh, bother," she said.
Jack Gardner's' voice came over the wire.
Jack is the casting director for the Fox
Studios.
"How would you like to make a picture?"
he asked.
"Oh, I don't know. What kind of part?"
she asked. Her mind was still on planting her
sweet peas; the snails that were eating up her
chrysanthemums and what the baby should
have for lunch because it was the nurse's day
out.
The next day she went to the Fox Studio to
see about playing the gallant little mother in
"Over the Hill." She was the actress again.
She was the thirty-first and last actress to make
a test for the part. And how she played it !
" It is the first role that has appealed to me
in the eight years of my retirement," Mae said.
" Of course, I was curious to hear how my voice
would sound in a talking picture, but I was
especially glad to play the part of a mother."
"But Mae," I wailed, "you're going to be
typed now, just like every other actress who
makes a hit in one role. You're going to have
to play mothers from now on."
"I don't care," Mae replied. "Let them
type me if they want to. I'll play mothers.
I'll play grandmothers. I'm not the ingenue
type. I never was.
"One critic said that I was not so young,
not so winsome as I was twelve years ago.
I hope I haven't stood still all that time.
I don't know anyone who is as young today as
he was twelve years ago."
The red-blonde hair is now snow white;
bleached and bleached for the scenes in which
she played the white-haired mother in "Over
the Hill." Wig after wig was tried but none of
them looked natural. And so they bleached
Mae's own hair, because it must look perfect
for the part.
Now that the picture is finished, Mae hates
her hair.
"TT makes me feel so old," she complains.
-*-'T have an old lady complex anyway, since
I made the picture. I can't stop feeling old.
They kept telling me I couldn't do this and
I couldn't do that because I was too old. Now
I feel that I'm at least a hundred."
But her daughters like the color of her hair.
"Mama, darling," they said, "why, you look
just like a platinum blonde. Like Jean Har-
low.
'That reminds me — I'm in love"
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I 22
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Photoplay Magazine for March, 1932
TONIGHT
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Come On, You Fat Girls!
COVTINTJED FSOM PAGE 47 ]
either in the morning or the afternoon. This
makes the muscles elastic and draws the fat
from underneath.
It also makes you long and lithe and grace-
ful. It gives you poise, too.
Now for you poor thin girls who want to
build up the bust.
Keep up the exercises I've already given you
but add to them the exercise I've illustrated
and described in Picture C.
Do this complete exercise twelve times every
morning and be sure to feel the chest muscles
si retching.
You'll be amazed at how firmly your bust
will develop.
VTOW for you people who give me that alibi,
*■ ^ " I know I should reduce, but I have anemia
and must keep up my strength by eating."
Those anemia people are always whiney.
I know them. They love to be sick and they
think it interesting to look pale and fatigued.
Well, it isn't. I implore you — don't get a kick
out of looking like the devil.
As a rule you anemia people won't do a
thing to help yourselves. You take it out on
your poor family and friends. They'll put up
with you, but I won't. You look awful — fat
and flabby and pale. Come on, get that fat
off and, at the same time, cure yourself of
anemia.
Here's how it's done. Follow the general re-
ducing diet I gave you last month, but with
the additions I'm going to tell you about.
(You'll find the general reducing diet and the
general building up diet repeated at the end of
this article.)
The milk cure for anemia is very good.
There are a number of institutions where they
take people and feed them on milk alone. And
they get results, but some folks have difficulty
in digesting milk. Why not correct that
You
anemia yourself? Be spunky about it.
can do it without milk.
The tops of turnips contain more iron than
any other vegetable. Wash the turnip tops or
turnip greens thoroughly. Put them in cold
water and let them simmer slowly for two
hours. Strain off the juice and drink that
liquid as you would drink water. Take three
cups of it every day. Do this along with the
reducing diet and don't fail to keep up the
exercises.
Eat lots and lots of rare beef, broiled live:
and lettuce. And eat all the gelatin you can.
Substitute gelatin for every dessert I've givei
You can take it at every meal.
Make a resolution that you'll never whim
again.
When I left Hollywood, everybody said,
"Don't be crazy, Sylvia, you'll be back."
But I told them I was through punching stars.
The other day I got a telegram from Norma
Shearer which read, "Please come home soon.
Love. Norma."
Now the reason I'm not going back to
Hollywood and the Hollywood stars is because
I'm going to keep on writing these articles and
make you as attractive as those girls are.
Surely you should give me a little cooperation,
when I'm giving up so much — even a gorgeous
person like Norman Shearer — to help you.
T_JERE is the beginning of the facial work I'm
•*■ -Agoing to continue in my next article. People
always say to me, "The first place I lose is in
my face."
My patients never have that experience, but
there is a trick to it. Get the proper amount
of nourishment.
If you follow my diet you won't get that
hungry, wolf-like expression whenever you see
food, because I've given you plenty to eat. Nor
will your face get saggy if you do what I say.
This is the house, the one with the fresh coat of paint and the new roof.
The address is 169 University Avenue, Toronto, Ontario, Canada. Gladys
Smith was born there a little less than forty years ago. And when she and
Lottie and Jack were playing hopscotch on that pavement, little Gladys
didn't know that some day she would be Mary Pickford and entertain
dukes and duchesses in a mansion in Hollywood
Give your face plenty of time because you
will love it. It's so restful and relaxing.
Clean your face with cleansing cream. Re-
move it and with a good feeding cream go all
over your face with a gentle, smooth rotating
movement of the two middle finger tips.
Linger longest over the sagging muscles of the
chin and deep lines about the mouth and nose,
but always rub lightly and gently and do not
pull the skin.
But that's not all. Your nerves and muscles
must be stimulated.
"DRESS the two middle fingers of both hands
■*- just at the cheek bone rather close to the ear
(where my left hand is in Picture D). Do not
pull the skin but press hard, making the fingers
tremble as if they were a vibrator. Do this for
two or three minutes. Do the same thing at
the temples and also between the eyebrows
(where my right hand is in Picture D). In the
picture I have my two hands in different places
— that's just to illustrate. When you do it,
put both hands to the cheek bones at the same
time, also put both hands between the eye-
brows at the same time. Touch the three spots
I've mentioned with the fingers in the vibrating
motion for two or three minutes each.
You will love this for it stimulates the face
Photoplay Magazine for March, 1932
and makes your nerves tingle pleasantly. This
keeps your face toned up and doesn't allow it
to sag.
Now use a lot of cold water on your face,
but never until every bit of cold cream has
been removed, for that's the surest way to
start blackheads.
Look at yourself. Why, you look lovely.
Your eyes sparkle, your skin is fresh. You're
losing weight, but your face is still firm.
Think, as you look into the mirror, how pretty
you are.
The pounds are going, going, going. You're
youthful. Isn't it great? Doesn't it pep you
up to know how splendid you're becoming?
And, as I tell you more and more things,
you're going to look more and more beautiful.
TvTEXT month I've got some surprises for
•*-^you fat and skinny girls, that will make
you sit up and hear the birds sing.
Now go out and enjoy life. But don't forget
your diet and your exercises. There — you see,
what a fool you were not to obey me the first
month? But it's different now. Keep it up
without variance!
But remember, I'm too busy to answer letters.
I've told you what to do. Go do it. Come
on, baby, get busy.
I 2
General R.educing Diet
Breakfast
Small glass (about four ounces) grapefruit or
orange juice.
Cup of black coffee (no sugar).
Slice of melba toast with a little honey and
no butter.
Luncheon
(You must have one liquid meal a day. It
can be at luncheon or dinner. I give it here
for luncheon.)
Glass of tomato juice.
Cup of tea or coffee (no cream or sugar)
or
Large bowl of clear soup (no crackers).
In the middle of the afternoon you can have
a cup of tea with lemon and no sugar.
Dinner
Fruit cup.
Salad of lettuce and tomato or any other
salad except avocado.
Salad dressing of mineral oil and lemon juice.
Small broiled rare steak
or
Double lamb chop
One slice of J^-inch thick roast beef
or
Two slices of turkey or chicken and a wing
or
Two slices of broiled lamb
or
Ground round steak, without fat and use the
cheaper meat where you get the fibres.
(Cut off the fat from all the meat and don't
use gravy).
Two green vegetables (peas, carrots, broc-
coli, greens, cauliflower, cabbage, etc.)
No bread, instead do this:
Bake a potato. When it is done, scoop out
the inside leaving about l/i inch to the peel.
Throw away the inside and put the rest back
in the oven until it is dry. Eat this instead of
bread without salt and no butter. It's de-
licious.
Gelatin
or
Baked apple without sugar
or
Stewed fruits without sugar.
Use no salt on anything, as there are mineral
salts in most foods.
General Building Up Diet
Breakfast
Big glass of orange or grapefruit juice.
Twenty minutes later
Dish of hominy with ripe sliced bananas and
certified milk and sugar.
Coffee or tea with sugar and cream.
Toast with plenty of butter and jam if you
like.
(Two hours before luncheon a big glass of
tomato juice if possible.)
Luncheon
Bowl of thick soup.
(Cream of mushroom
or
Cream of tomato
or
Cream of celery
or
Thick vegetable soup
or
Chicken okra with rice or noodles.)
Green salad and often half an avocado.
Spaghetti (with butter — allowed to melt
after the food is off the fire)
or
Egg noodles (with butter).
Chocolate or rice or bread pudding
or
Cup custard
or
Stewed fruits with cream.
Bottle of certified milk.
(In the middle of the afternoon a glass of
milk.)
Dinner
Fruit cocktail.
Soup (cream or clear) .
Any sort of meat that is broiled or roasted,
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1
124 2
No CAMP
IS COMPLETE
WITHOUT A CANOE
Photoplay Magazine i ok March, 1932
A canoe brings all the beauty of miles of water
■ to the dock of your camp. There's fishing
on the stretch of a lazy lake. There's exploring
. . . day-time excursions to secluded spots . . .
overnight trips. It's no ba-k-breaking work to go
places in an Old Town Canoe. The easy stroke
of a paddle takes you there and back — smoothly,
quickly, and enjoyably.
Old Town canoeing is not an expensive luxury.
There are 1932 models lowered to S63. And Old
Towns give years and years of hard use without
any expensive up-keep cost. Write for a free
catalog showing paddling, sailing, and square-stern
types. Also outboard boats, including big, fast,
s aworthy, all-wood boats tor family use. Row-
boats and dinghies. Write today! Old Town
Canoe Co., Hi Main St., Old Town, Maine.
"Old Town Canoes"
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30 DAYS
HOME TRIAL
Hollvwood-
rash ion ably upeaking
by Seymour
HOLLYWOOD'S fashion prestige is like
a star who gained little press notice in
the days of silent pictures, but now that
her voice is found, she's telling the world!
The high and lofties of the fashion world,
whose eyes have become strained from looking
over toward Paris, are grudgingly admitting
that there is something to this screen fashion
talk.
This past year has seen screen fashions cre-
ating more than the usual furor — and it won't
be surprising if the screen couturiers will have
as much complaint against copyists as the
Paris houses are now experiencing.
Xew pictures certainly prove that the screen
designers are right up on their toes — they are
ready to broadcast the new trends before they
happen — and they are determined to give you
a visual picture of the fashions you will be
wearing a season in advance.
This isn't just ballyhoo. Watch for Carole
Lombard in "No One Man," if you don't be-
lieve me.
Her Florida costumes are what you'll be
picking for this coming summer.
Girls who like that come-hither look of a
nose veil, can go as veiled as they please. Many
new spring Lats that turn their brims up to
boldly reveal the hair at back, go coy with
veils over the eyes in front.
One of the first formal affairs that Constance
Bennett gave after she married the Marquis,
was a dinner announcing sister Joan's engage-
ment. She chose to wear formal evening
pyjamas on this occasion — they were red
velvet with a coat of silver metal cloth. Joan
Bennett wore black and silver. Somehow she
always looks like a little girl dressed up for her
first party, especially when so closely con-
trasted with soignlt sister Constance.
Red was quite the order of the evening. I
might add.
Norma Shearer and Joan Crawford both
sponsored it.
Waistlines are on the up and up. A new high
is being launched that out-princesses the most
princess silhouette.
It's being cleverly adapted, though, so that
the not-so-slim-waisted sisterhood need not
get too worried.
By way of an interior decorating note — both
Mrs. Richard Barthelmess and Mary Pickford
have had rooms in their houses done over in
white.
Mary's is the drawing-room — Mrs. Barthel-
mess', the boudoir.
She Talked Too Much
CONTINUED FROil PAGE 57
City.
.328
and the pitiful sorrows of the depths. She says:
"It is all a matter of breaks. It is just
as easy to fall one way as the other. I
was an extra off and on for nine months —
mostly off. I learned from watching Holly-
wood how desperately cruel it can be. I
learned that success is difficult to win but easy,
oh so easy, to lose. I also learned that the
moment you start getting excited about any-
thing in this business or any other, for that
matter, you are overwhelmed with your own
importance. Your perspective is dimmed as a
result.
"I sometimes think I have learned to an-
alyze too much."
ALTHOUGH she didn't tell me, I knew of
what she was thinking about. Frances Dee
had met a young man just a week before he
was to sail to Furope. It was love at first sight.
Mad, wild love. Other Hollywood girls would
have married — or admitted love. Not Frances.
She let the boy slip away. ''Separation will
tell whether it is the real thing or an attraction
for the moment," her mind argued. " We will
write. We will come to know each other
through letters. If we discover we are really
suited to one another — "
Her part in "An American Tragedy" came
about like this: Marlene Dietrich and Josef
Yon Sternberg noticed her in the lunchroom.
They observed her closely. Marlene kept talk-
ing to her mentor; Josef kept nodding
They called to Frances from a window later
in the afternoon and asked if she would like
the part.
At the opening of that picture in Los An-
geles, Marlene leaned over to a friend and said
she had '"discovered" Frances.
Gossip about herself and Yon Sternberg hurt
Frances. When it went so far that folks began
making up poetry about "Dee and D/Vtrich"
she went into another huddle to settle the
situation between her emotions and her mind.
Her emotions said —
"I'd better stop staying on that set when
I'm not working; I'd better stop having lunch-
eon with him every noon. I'd better not be
seen with him at all — "
But her mind said, " He's teaching me more
about pictures than anyone I've known. He
can help me as few can. Why shouldn't I take
advantage of it? What do I care what people
say. Gossip doesn't do any good, but it needn't
do any particular harm."
SHE continued to be seen with Yon Stern-
berg.
Will she, with this philosophical beginning—
become a star? She's not one, today. Far
from it.
Her important pictures to date are "Play-
boy of Paris," "An American Tragedv." "Rich (
Man's Folly." and "This Reckless Age."
But she's taken a long step since, a year and
a half ago. she came out between her sopho- '
more and junior years at the University of
Chicago to visit an aunt, learned they were
casting for a college production at Fox. walked
nonchalantly to the casting office, and said:
" I'm a college girl. Why not use me? " They
used her.
Photoplay Magazine for March, 1932
rHOTOPLAY lUAGAZlNJi 1UK 1\J
Casts of Current Photoplays
Complete for every picture reviewed in this issue
"ARSENE LUPIN"— M-G-M.— From the play
by Maurice Le Blanc and Francis De Croissct.
Screen play by Lenore Coffee and Bayard Veiller.
Directed by Jack Conway. The cast: Duke of Char-
merace, John Barry more; Guerchard, Lionel Barry-
more; Sonia, Karen Morley; Prefect of Police, John
Miljan; Gourney-Martin, Tully Marshall; Sheriff's
Man, Henry Armetta; Sheriff's Man. George Davis;
Buller, John Davidson; Laurent, James Mack; Marie,
Mary Jane Irving.
"CAIN"— Talking Picture Epics. — Directed by
Leon Poirier. The cast: Cain, Thorny Bourdelle;
Zouzour, Rama-Tahe.
'CHARLIE CHAN'S CHANCE"— Fox.— From
the novel by Earl Derr Biggers. Adapted by Barn'
Conners and Philip Klein. Directed by John Bly-
stone. The cast: Charlie Chan, Warner Oland; John
Douglas, Alexander Kirkland; Inspector Duff, H. B.
Warner; Shirley Marlowe, Marian Nixon; Gloria
Garland, Linda Watkins; Inspector Flannery, James
Kirkwood; Barry Kirk, Ralph Morgan; Kenneth Dun-
wood, James Todd; Garrick Enderly, Herbert Bunston;
Kec Lin, Jimmy Wang; Doctor, Joe Brown.
'DANCE TEAM" — Fox. — From the novel by
Sarah Addington. Adapted by Edwin Burke.
Directed by Sidney Lanfield. The cast: Jimmy
Mulligan, James Dunn; Poppy Kirk, Sally Eilers;
Alex Prentice. Ralph Morgan; Pen-worthy, Edward
Crandall; Jane Boyden, Nora Lane; Herb, Harry
Bcresford; Benny Weber, Charles Williams; Cora,
Minna Gombell.
"FILE 113" — Allied Pictures. — From the story
by Emile Gaboriau. Adapted by J. Francis Natte-
ford. Directed by Chester M. Franklin. The cast:
Monsieur LeCoq, Lew Cody; Mile. Adoree, Mary
Nolan; Madame Fauvel. Clara Kimball Young;
Verdurel. George E. Stone; Prosper Barlomy, William
Collier, Jr.; Madeline. June Clyde; Fauvel, Herbert
Bunston; DeClameran, Roy D'Arcy; Lagors, Irving
Bacon; Michele, Harry Cording; Oilman, Crauford
Kent.
' FORGOTTEN WOMEN "—Monogram.— From
the story by Wellyn Totman. Adapted by Adcle
Buffington. Directed by Richard Thorpe. The cast:
Patricia Young. Marion Shilling; Jimmy Burke, Rex
Bell; Fern Madden, Beryl Mercer; Sissy Salem, Vir-
ginia Lee Corbin; Helen Turner, Carmelita Geraghty;
Trixie de Forrester. Edna Murphy; Sleek Moran,
Edward Earle; Dugan, Jack Carlyle; Swineback,
Edward Kane; Walrus, G. D. Wood.
"FREAKS"— M-G-M.— From the story "Spurs"
by Tod Robbins. Adapted by Willis Goldbeck and
Leon Gordon. Directed by Tod Browning. The cast:
Phroso, Wallace Ford; Venice, Leila Hyams; Cleo-
patra, Olga Baclanova; Roscoe, Roscoe Ates; Hercules,
Henry Victor; Hans, Harry Earles; Frieda, Daisy
Earles; Mme. Petrallini, Rose Dione; Siamese Twins,
Dais;.- and Violet Hilton; Rollo Boys, Edward Brophy
and Mac Hugh: and The Freaks.
"HATCHET MAN, THE"— First National.—
From the play "The Honorable Mr. Wong" by
Achmed Abdullah and David Belasco. Screen play
by J. Grubb Alexander. Directed by William A.
Wellman. The cast: Wong, Edward G. Robinson;
Toya San, Loretta Young; Nog Hong Fall, Dudley
Digges; Harry En Hai, Leslie Fenton; Yu Chang,
Edmund Breese; Long Sen Yal, Tully Marshall;
Charles Kee. Noel Madison; Mme. Si-Si, Blanche
Frederici; Sun Yal Sen, J. Carroll Naish; Miss Ling,
Tosliia Mori; Lip Hop Fat, Charles Middleton;
M alone, Ralph Ince; Chung Ho, Otto Yamioka; Walt
Li, Evelyn Selbie; The Cobbler, E. Allyn Warren; Bing
Foo. Eddie Piel; The Notary, Willie Fung; Sing Girl,
1 1 Anna Chang.
| "HIGH PRESSURE"— Warners.— From the
;story by Aben Candel. Adapted by Joseph Jackson.
Directed by Mervyn LeRoy. The cast: Gar Evans,
William Powell; Francine, Evelyn Brent; Colonel
'Ginsberg, George Sidney; Mike, Frank McHugh;
'Clifford Gray. Guy Kibbee; Helen. Evalyn Knapp;
Geoffrey. Ben Alexander; Dr. Rudolph. Harry Bcres-
ford; Jimmy Moore, John Wray; Salvaore, Charles
Judels; Colombo, Luis Alberni; Oscar Brown, Lucien
Littlefield; Banks, Charles Middleton; Mrs. Miller,
Alison Skip worth; V underbill, Harold Waldridge;
Millie, Lilian Bond; Poppolus, Maurice Black; The
Baron. Bobby Watson; B. B. B. A/., Oscar Apfel; Ga
Ga Girl, Polly Walters
"LOCAL BAD MAN, THE"— Allied Pictures.
— From the story "All For Love" by Peter B. Kyne.
Adapted by Phil White. Directed by Otto Brower.
The cast: Jim Bonner, Hoot Gibson; Marion Mead,
Sally Blane; Ben Murdoch, Hooper Atchley; Joe
Murdock, Edward Hearn; Hickory Drake, Edward
Peil; Skeeter, "Skeeter Bill" Robbins; McGee, Jack
Clifford; Horsetail, Milt Brown.
"LOVERS COURAGEOUS" — M-G-M.— From
the play "Courage" by Frederick Lonsdale. Directed
by Robert Z. Leonard. The cast: Willie, Robert
Montgomery; Mary, Madge Evans; Jeffrey, Roland
Young; Admiral, Frederick Kerr; Mrs. Smith, Beryl
Mercer; Jimmy, Reginald Owen; Lady Blayne,
Evelyn Hall; Mr. Smith. Halliwell Hobbes; Willie (as
a child), Jackie Searl; Waller, Norman Phillips, Jr.;
Lamone, Alan Mowbray.
"MAN I KILLED, THE"— Paramount.— From
the story by Maurice Rostand. Adapted by Reginald
Berkeley. Directed by Ernst Lubitsch. The cast:
Dr. Holderlin, Lionel Barrymore; Elsa, Nancy Carroll;
Paul, Phillips Holmes; Schuh, Lucien Littlefield;
Anna, ZaSu Pitts; Waller Holderlin, Tom Douglas;
A Priest, Frank Sheridan; Fran Holderlin, Louise
Carter.
"MAN WHO PLAYED GOD, THE"— Warners.
— From the story by Gouverneur Morris. Play by
Jules Eckert Goodman. Adapted by Julian Joseph-
son and Maude Howell. Directed by John Adolfi.
The cast: Royale, George Arliss; Mildred, Violet
Heming; Bailie, Ivan Simpson; Florence, Louise
Closser Hale; Grace, Bette Davis; The King, Andre
Luguet; Harold, Donald Cook; The Doctor, Charles
Evans; The Lip Reader, Oscar Apfel; Concert Man-
ager, Paul Porcasi; Eddie, Raymond Milland; Jennie,
Dorothy LeBaire; First Boy, William Janney; First
Girl, Grace Durkin; The Reporter, Russell Hop ton;
The King's Aide, Murray Kinnell; Chittendon, Harry
Stubbs; Mrs. Chittendon, Hcdda Hopper.
"MICHAEL AND MARY"— Universal-Gains-
borough.— From the play by A. A. Milne. Scenario
by Angus MacPhail. Directed by Victor Saville.
The cast: Mary Rowe, Edna Best; Michael Rome,
Herbert Marshall; David, Frank Lawton; Romo,
Elizabeth Allan; Price, D. A. Clarke-Smith; Tullivanl.
Ben Field; Mrs. Tullivanl, Margaret Yarde; Violet
Cunliffe, Sunday Wilshin.
"MURDERS IN THE RUE MORGUE"— Uni-
versal.— From the story by Edgar Allan Poe.
Adapted by Tom Reed and Dale Van Every. Directed
by Robert Florey. The cast: Dr. Mirakle. Bela
Lugosi; Camille L'Espanaye, Sidney Fox; Pierre
Dupin, Leon Adams; Paul, Bert Roach; Prefect of
Police, Brandon Hurst; Janos, The Black One, Noble
Johnson; The Morgue Keeper, D'Arcy Corrigan; The
Mother, Bcttv Ross Clark.
"NIGHT BEAT" — Action Pictures.— From the
story by Scott Darling. Directed by George B. Scitz.
The cast: Johnny, Jack Mulhall; Eleanor, Patsy Ruth
Miller; Martin, Walter McGrail; Chili Scarpelli,
Harry Cording; Weissenkorn, Ernie Adams; Feather-
stone, Richard Cramer; Italian, Harry Semeles.
"NO ONE MAN"— Paramount.— From the
novel by Rupert Hughes. Adapted by Percy Heath.
Directed by Lloyd Corrigan. The cast: Penelope
Newbold, Carole Lombard; Bill Hanaway, Ricardo
Cortez; Dr. Karl Bemis, Paul Lukas; Sue Folsorn,
Juliette Compton; Alfred Ne-wbold, George Barbier;
Mrs. Newbold. Virginia Hammond; Stanley Mcllvaine,
Arthur Pier son; Delia, Frances Moffett; License Clerk,
Irving Bacon.
"PANAMA FLO" — RKO-Pathe. — From the
story by Garrett Fort. Directed by Ralph Murray.
The cast: Flo, Helen Twclvetrees; Babe, Robert Arm-
strong; McTeague, Charles Bickford; Pearl, Marjorie
Peterson; Sadie, Maude Eburnc; Al. Paul Hurst;
Jake, Ernie Adams; Chacra, Reina Velez; Pilot, Hans
Joby.
2
125
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Photoplay Magazine for March, 1932
"PRESTIGE" RKO-Pathb. -From the story
rrj I N r \ < • . Adapted by Tay Garnett and
Hollo Lloyd. Directed by Tay Garnett. Th<
Theresc Du Flos, Ann Harding; Captain Remy
Bandoin. Adolpbe Menjou; Lieutenant Andre \'er-
laine, Melvyn Douglas; Colonel Du Flos. Ian Mao-
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"SILENT WITNESS. THE'— Fox.— From the
story by Jack De I. con and Jack Celcstin. Adapted
by Douglas Doty. Directed by Marcel Varnel and
R. L. Hough. The cast: Sir Austin Ho-.card, Lionel
A twill; Sora Selmer. Greta Nissen; Carl Blake,
Weldon Heyburn; Sylvia Fierce, Helen Mack;
Anthony Howard, Bramwell Fletcher; Lady Howard,
Mary Forbes; / ni peclor Robhins. Montague Shaw; Sir
John La-.ison, Wyndliam Standing: Arthur Drinton,
K. C Alan Mowbray; Harry Hammer. Herbert
Mundin; Horace Ward. Billy Bevan; Col. Grayson,
Lumsden Hare: Justice Bond, Low-den Adams; Clerk
of Court, Eric Wilton.
"SKY DEVILS" — UNITED Artists. — From the
screen play by Joseph Moncure March and Edward
Sutherland. Directed by Edward Sutherland. The
cast : Wilkie, Spencer Tracy; Sergeant Hogan. William
Boyd; Mitchell, George Cooper; Mary. Ann Dvorak;
The Colonel. Billy Bevan; Fifi. Vola D'Avril; Inn-
keeper. Forrester Harvey; Captain, William B. David-
son; Lieutenant, Jerry Miley.
"STEPPING SISTERS"— Fox.— From the play
by Howard Warren Comstock. Screen play by
William Conselman. Directed by Seymour Felix.
The cast: Mrs. Ramsey. Louise Dresser; Rosie La-
Marr, Minna Gombell; Lady Chetworth-Lynde,
Jobyna Howland; Herbert Ramsey, William Collier,
Sr. : Warren Tremaine, Howard Phillips; Jack Hartley.
Stanley Smith; Ambassador Leonard, Ferdinand
Munier; Mrs. Tremaine, Mary Forbes; Norma
Ramsey, Barbara Weeks; Jepson, Robert Greig;
Butler, Pietro Sosso.
"SUNSET TRAIL, THE— Timor* Prod.— From
the story by Ben Colin. Directed by B. Reaves Ea-
son. The cast: Jim. Ken Maynard; Molly, Ruth
Hiatt; 'Talerbug. Frank Rice; Weller. Philo Mc-
Cullough; Buddy, Buddy Hunter; One Shot, Dick
Alexander.
"TEX TAKES A HOLIDAY"— Argosy Prod. —
1 i. in the story by Robert Walker. Adapted by Alan
Directed by Alvin J. Neitz. Tin cast: 1 < I
Wallace MacDonald; Dolores, Virginia Brown Fair*!
Jot Ben Corbet t; Duanna. Mary de LaLatt
I Dillon; Sheriff, George Ch'
Saunders, Claude Payton.
"THIS RECKLESS AGE"— Paramount.— From
the play by Lewis Beach. Adapted by Frank Tuttle.
Directed by Frank Tuttle. The cast: Bradley In gals,
Charles "Buddy" Rogers; Donald Jngals, k
Bennett; Mary Burke. Peggy Shannon; (
Whitney, Charlie Ruggles; Lois Ingals, Frances Dee;
Eunice Ingals. Frances Starr; Fig Van Dyke. Allen
Vincent; Rhoda. Maude Eburne; Cassandra, Mary
Carlisle; Matthew Daggett, David Landau; Lester Bell,
Reginald Barlow.
"TOMORROW AND TOMORROW— Par.*,
mount.— From the play by Philip Barry. A
by Josephine Lovett. Directed by Richard \\
The cast: Eve Redman. Ruth Chatterton: Dr. Nicho-
las Faber. Paul Lukas; Gail Redman, Robert Aims;
Samuel Gillespie, Harold Minjir; Christian Redman
Tad Alexander; Dr. Walter Burke, Walter Walker]
Spike. Gail's classmate, Arthur Pierson; Ft.
Adee, Winter Hall; Miss Frazer, Margaret Arm
"TWO KINDS OF WOMEN"— Paramoi
From the play "This is New York" by Ro!,
Sherwood. Adapted by Benjamin Glazer. Directed
by William C. De Mille. The cast: Emma KruU,
Miriam Hopkins; Joe Gresham, Phillips Holmes;
Phyllis Adrian. Wynne Gibson; Hauser, Stuart Kr-
win; Senator Krull. Irving Picliel; Helen. Vivienne
Osborne; Clarissa. Josephine Dunn; Joyce. James
Crane; Harry Glassman. Stanley Fields; Tim Goho-
gan, Robert Emmett O'Connor.
"TWO SOULS" fZwei Menschenl — Cicero Prod.
— From the novel by Richard V'oss. Directed by Erich
Waschneck. The cast: Rochus, Gustav Froelicbl
Judith, Charlotte Susa; The Cardinal. F:
Kayssler: Count F.nna. Fritz Alberti; Countess I. una.
Hermine Steller; House Chaplain, Bernd Aldor; Lucy,
Lucy Englisch.
"U. S. C.-NOTRE DAME FOOTBALL GAME"
— Soso Art-World Wide. — Produced by Harry
Beaumont. Sam Wood and Si Masters. Direc:
Coach Heartley " Hunk" Anderson and Coach
Howard H. Jones.
STu D I O
"He gave me the part because I was just the type
n
Photoplay Magazine for March, 1932
127
SPECIAL
REDUCED
PRICE
This Beautijul Book oj
250 De Luxe Art Portraits
oj Leading Film Stars
NOW CAC
ONLY D\J
WHILE THEY LAST
STARS E PHOTOPLAY
This de luxe edition of the "Stars of the Photoplay"
represents the very finest collection of beautiful art por-
traits of screen celebrities ever assembled under one cover.
Thousands of copies of this de luxe edition of the
Stars of the Photoplay have been sold at the origi-
nal price of $1.75 per copy, and thousands more at
the reduced price of $1.25, but they are now offered
to Photoplay readers as long as they last at the
ridiculously low price of 50c.
No reader can afford to be without a copy of this
wonderful collection of portraits of leading moving
picture stars at this price, which is less than the
single admission price of most moving picture
theaters. The Stars of the Photoplay will give
you many evenings' entertainment and will be your
constant reference for information about the stars
you have seen on the screen.
The outside measurement of the book is ll/i x 10^2
inches, and the size of each portrait is 5J^ x 7J^
inches.
The portraits are rich, rotogravure reproductions,
and under each is a brief biographical sketch of
the star featured, including such information as
age, weight, height, complexion, etc. Just the
kind of information that you want.
The cover is a handsome Red Art Fabrikoid with
gold lettering, a book you will be proud to own.
An Ideal Gift
The Stars of the Photoplay will make an excellent
Gift for birthdays or bridge prizes and the value looks
many times its cost. We are not limiting this offer
to one book per reader. Send for as many as you
can use, and we know you will be more than pleased
with your purchase. Just fill out the coupon and
enclose check, money order or currency. Send it
today and the books will be sent by return mail.
SPECIAL REDUCED PRICE COUPON
Photoplay Magazine,
Dept. SP-3, 919 N. Michigan Ave., Chicago, 111.
Gentlemen:
Please send me copies of the Stars of the Photo-
play at the special reduced price of 50c per copy. Enclosed
please find □Money Order. □Check. □Currency for $
to cover cost. Send to:
M
Address.
Cily....
. State .
Cal York's Monthly Broadcast from Hollywood
( C'o.vilM ED PBOM PAG] ''5 ]
"Well, my land," says ZaSu Pitts, "ain't he the clever one, lighting his
cigarette off that gas jet. Wonder how it feels way off up there." ZaSu
is all bewildered over Clifford Thompson, the tallest man in the world.
He's eight feet, six inches tall and ZaSu puzzles how in the name of Garbo
the camera is going to photograph both her and Clifford at the same time.
The two are acting together in Hal Roach's "Seal Skins"
one drawer and the rest of the dresser filled
with string, rope and wire.
So don't be too harsh on your own offspring.
Maybe he'll be a great actor like Jackie.
V'AV FRANCIS is a different person since
■*^*her marriage. Once a regular fellow and the
life of every party, she now lives in almost
semi-retirement. She and Kenneth MacKenna
rush to their sailing vessel between pictures and
amain there until the studio calls them back.
She has only been to two parties this
winter — the opening of the Mayfair and the
Embassy.
T_TERE'S how Mickey Mouse happened.
■*■ **■ His creator, Walt Disney, broke and
discouraged, was sitting on a park bench. At
last his eyes fell upon a frightened little mouse,
running around the outside of a refuse can
trying to find shelter.
Disney laughed at the animal's antics and
that's what gave him the idea that has been
making the rest of us laugh for all these months
and months.
Incidentally, both Mickey's income and his
fan mail are enormous. It takes sixty artists
to put him on the screen and two weeks work
on each production.
JOHN (Profile) BARRYMORE never kisses
^ a girl unless he has to. In a scene from
"Arsene Lupin." John was supposed to seize
Karen Morleyin the dark and kiss her violently.
Came the darkness but John merely stood
off by himself and emitted long passionate
sighs. Which passed for kisses.
Strange person, this Barrymore. And have
you seen Karen?
HTHEY bought gold mines in Arizona and
■*■ stocks on margin and now the fortune
which three years ago amounted to SI, 000.000
that Vivian and Rosetta Duncan earned by
singing that close harmony is all gone.
In Hollywood the two sisters put their heads
together and had a big joint cry. Maybe Nils
Asther, Vivian's husband, joined in Swedish.
For the breaks haven't been so good for him,
either. He hasn't done any work in pictures for
a long time. And the baby needs shoes. The
girls have gone into bankruptcy but they say
they're going to work hard and pay back all
their debts.
A MAGAZINE printed a nasty little bit of
*■ chit-chat about Douglas Fairbanks, Jr.
When he read it, he telephoned the editor,
and thanked her sweetly for spelling his name
correctly.
TX7ILLIE COLLIER, SR., one of the
finest actors and most popular young
fellows of the picture colony, was not at all
enthusiastic over the smallness of a picture
role handed to him recently.
The director called him. Collier ambled
over.
"Ready?" asked the director.
"No," said Collier, "I couldn't learn my
part. I haven't got my script."
"Why not?-' thundered the director.
"A Ilea ate it," growled Collier.
/ 28
A LTHOUGH the fad for wisecracks on
Tin Lizzies" has had its day, a hopped-
up Ford outside of Hollywood high school had
a crack that is entitled to at least passing
mention. The kid had chalked on the door of
his car:
"Doorway to Hell."
T—TERE'S a note of hope to you mothers with
young sons.
Even Jackie Cooper collects bits of wire,
pieces of rope and broken glass and goes home
with his pockets bulging.
Recently his mother rearranged his dresser
drawers with socks in one, ties in another and
underwear in another. She told Jackie he
mu*t keep them straight. The next day Mrs.
Cooper found everything dumped together in
TT'AV FRANCIS' dachshund is the l>est
-^dressed dog in Hollywood. He always
wears a sweater the color of the dress Kay is
wearing. ... A woman in a Los Angeles
theater died while laughing over the screen
antics of Joe E. Brown. . . . Sidney Skolsky
says that James Cagney fired his first real
bullet for the first time in Maine last summer.
And he was scared, too, in spite of all those fake,
shots he's made in pictures.
/""iLIFF EDWARDS walked on the Greta
^Garbo set where "Mata Hari'' was in
progress.
No shooting was being done. Everybody
was pulling long faces.
Cliff looked from one to the other and then
piped up with, "What's the matter, Hari?''
And then he played the ukulele as if his
little heart would break.
The NEWS MAGAZINE of the SCREEN
APRIL
SHEARER
JoYou Wa n t
A Brand-New
Personality?
HOLLYWOOD BEAUTY
E X PERTS and Psychologists
ell You How— In This Issu/
Luckies are certainly kind to my throat
HOT TAMALEI
Lupe landed in Hollywood with
one lone dollar and no part to play
. .. But now she has nine fur coats,
15 canaries and the world's loudest
lounging pajamas. We hope you
liked her in the M-G-M PICTURE,
"THE CUBAN LOVE SONG," as
much as we did. Lupe's been a
LUCKY fan for two years.. .There
was no — what is politely called
"financial consideration" for her
«■ statement. Gracias, Lupe!
"No harsh irritants for Lupe. I'm a Lucky fan.
There's no question about it — Luckies are certainly
kind to my throat. And hurrah for that improved
Cellophane wrapper of yours — it really opens with-
out a tug-o'-war — thanks to that tab." <^ \$hjt/2S''
"It's toasted"
Your Th root Protection— ogo Inst Irrltotlon — ogolnst tough
And Moisture -Proof Cellophane Keep* that "Toasted" Flavor Ever Fresh
I
WHAT A
Photoplay Magazine for April, 1932
FOOL
SHE IS!
'iP^^sfo'
vctti
m
mee 50° 1
hbwss
time for th
a„d she basj«^__ —
You bet there's a big thrill in a
swell movie! But if you want to
live romance, as well as watch some-
body else's romance, better spend a
few seconds a day keeping your gums
in condition!
You won't have an attractive smile
for long unless your teeth stay sparkling
white and sound. And that means you
must keep your gums firm and healthy !
Your gums probably aren't firm and
IPANA
healthy. Modern foods are too soft
and creamy to stimulate your gums.
Lacking work to do, your gums have
become lazy and sickly. Two to one
they're so tender that they bleed.
That's why you now may have
"pink tooth brush".
And when "pink tooth brush" ar-
rives, take heed! For it's Nature's
danger signal— a warning that more
serious gum troubles are on the way.
Gingivitis, Vincent's disease, even
pyorrhea may be just around the cor-
■-::": '
ner. And you certainly don't want to
take chances with the soundness o£ your
white teeth ! Yet that's another thing
"pink tooth brush" warns you about!
You can improve the condition of
those gums of yours if you'll uselpana
Tooth Paste with massage. Clean your
teeth with Ipana. But every time, rub a
little more Ipana right into your gums.
You'll soon notice a new sparkle
in your teeth. Use Ipana with massage
regularly, and you'll be able to
forget "pink" on your tooth brush!
BRISTOL-MYERS CO., Dept.I-42
73 West Street, New York, N. Y.
*p , -I o ~^^ Bt V Kindly send me a trial tube of IPANA TOOTH
£P S^^S/ O ^ & ^^T^^^\ I PASTE. Enclosed is a two-cent stamp to cover partly
•—"^J l^^1 CI --; U 11 1 9 the cost of packing and mailing.
•pZ k Jr r nj o am t^
_ J _^a^ i=, n /^*"*^^ Name
^ !t^ 2 ^&m*m~~ s,mt
'**^JL^*0mm1^ City State
Cupr. iy32. Briatol~Myen Co.
A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury
Photoplay Magazine for April, 1932
All-New, All-Talking
All-Time Miracle of EntertoinmentfHL^
THE
MIRACLE
MAN
SYLVIA
CHESTER
SIDNEY MORRIS
The picture that swept the world — now an all- new,
all-talking masterpiece! With a master cast! Sylvia
Sidney, wistful, appealing dramatic diamond! Chester
Morris, dynamic in the role that skyrocketed Thomas
Meighantofame! Anc/lrving Pichel, JohnWray, Robert
Coogan, Hobart Bosworth! Will you rave about it?
Naturally! It's a Paramount Picture, best show into wn!
Directed by Norman Mcleod Adopted by Waldemar Young. From the story
by Frank I. Packard and Robert H. Davis and the ploy by George M. Cohan.
^paramount Jlfi Cpidurei—
PARAMOUNT PUBUX CORP., ADOlPH ZUKOR, Pres. PARAMOUNT BUILDING, N. Y. C
0T0P1A
The World's Leading Motion Picture Publication
Vol. XLI No. 5
JAMES R. QUIRK, Editor and Publisher
April, 1932
I
Winners of Photoplay
Magazine Gold Medal for
the best picture of the year
1920 1921 1922
"HUMOR- "TOL'ABLE "ROBIN
ESQUE" DAVID" HOOD"
1921 1924 1925
"The "ABRAHAM "THE BIG
COVERED LINCOLN" PARADE"
WAGON"
1926 1927 1928
"BEAU "7th "FOUR
GESTE" HEAVEN" SONS"
1929 1930
"DISRAELI" "ALL QUIET ON THE
WESTERN FRONT"
Information and
Service
Brickbats and Bouquets .... 6
Hollywood Menus 19
Friendly Advice on Girls'
Problems 5-1
Questions and Answers .... 82
Screen Memories from Photoplay . 112
Addresses of the Stars 134,
Casts of Current Photoplays . . . Vio
High-Lights of This Issue
Close-Ups and Long-Shots James R. Quirk 27
Just What Makes Them Click Carl Yonnell 30
The New Piekfair 3-2
Caught With the Goods Katherine Albert 36
Cal York's Monthly Broadcast from Hollywood 38
The Greatest Battle in the Long History of Films! .... 48
The Hollywood Beauty Shop Carolyn Van Wyck 54
I Remember! Leonard Hall 63
Seymour — Photoplay's Style Authority 63
Unknown Hollywood I Know .... Kathebixe Albert 6T
Now! Girls! Here's Pep for You! Sylvia 60
Dancers in the Dark 72
Vote for the Best Picture of the Year 118
Studio Rambles Sara Hamilton 138
Photoplay's Famous Reviews
Brief Reviews of Current Pictures 8
The Shadow Stage 50
Short Subjects of the Month 120
Personalities
Don't Lie to Her 29
$750,000 and Danger Ruth Biery 42
! ! Tallulah ! ! Ruth Biery 47
Sixty Inches of Many Moods 60
He Borrowed a Name 60
Rain Brings Her Luck 61
Don't Call Him Platinum 61
30 Girls in a Race for Stardom Cal York 74
Let's Shop With Adrienne 76
Published monthly by the Photoplay Publishing Co.
Editorial Offices, 221 W. 57th St., New York City Publishing Office, 919 N. Michigan Ave., Chicago, 111.
The International News Company, Ltd.. Distributing Agents, 5 Bream's Building, London, England
James R. Quirk. President Robert M. Eastman. Vice-President Kathryn Dougherty, Secretary and Treasurer
Yearly Subscription: S2.50 in the United States, its dependencies, Mexico and Cuba; S3. 50 Canada; S3. 50 for foreign countries. Remittances
should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.
Entered as second-class matter April 24, 1912, at the Postofnce at Chicago, 111., under the Act of March 3, 1879.
Copyright, 1932, by the Photoplay Publishing Company, Chicago
rr hat the A ud
uaience
Th
inns
k
With Brickbats and Bou-
quets Photoplay Readers
Voice Their Opinions of
Pictures and Personalities
THE $25 LETTER
How many people know that motion pictures
serve as a therapeutic measure in treating the
mentally ill?
As a student nurse, I recently studied psy-
chiatry at a large hospital for the insane. Im-
agine a great recreation hall packed with the
oddest assortment of humanity possible; law-
yers, scientists, college graduates, rubbing el-
bows with congenital defectives. Here, through
the phonoplay, these patients who move in a
realm of delusions and hallucinations are
brought back to reality for a time by viewing
pictured incidents reminding them of their once
normal lives. Their appreciation is so intense
that it is pathetic!
A trend of connected thought is maintained
for a definite period. Reactions are quietly
noted, aiding a diagnosis. Occasionally a
simple incident may strike that responsive
chord in a patient which turns his topsy-turvy
world right side up again.
Catherine Woods,
Patten Memorial Hall, Evanston, 111.
THE $10 LETTER
We're all wise to this business of sex. At
least we all should be because we have cer-
tainly seen enough of it on the screen. A little
is okay but there's no need to spread it on so
heavily. Most of us are not so thick headed
that we don't get the drift. Why not try using
it sparingly like any other spice? Too much
of anything makes it cheap and any cotton
farmer will verify that old saying. I'm not ad-
vising cutting the sex stuff out of the pictures
entirely. That would be the same as leaving
the seasoning out of a dinner. But there's no
need to make the menu too salty.
Raymond Goforth, Dallas, Texas
THE $3 LETTER
"Movie stars are paid too much!" How
often we hear this statement. How untrue it is.
Soda jerkers are paid in proportion to their
worth to fountain managers; mechanics are
paid according to their value in garages. Cor-
poration executives are never paid according
lo the amount of work they do. Their worth
to their business determines their salaries. And
so it is with every trade.
If people line up for two blocks to see Norma
Shearer's pictures, and millions of dollars flow
into the studio coffers, shouldn't Norma be
paid in proportion? Isn't she worth it to her
company? If Barbara Stanwyck breaks box
office records, doesn't she deserve a huge salary?
"Movie stars are paid too much." Ridicu-
lous!
Maud O'Brien, Sulphur, La.
YOU BET WE WOULDN'T
Why do some fans insist that many of the
screen's most scintillating stars are high-hat?
Would any one of us be content to sleep in an
Everybody liked "Lovers Courageous"
because it combined both sweetness
and sophistication. Robert Mont-
gomery fans got up and cheered. They
say Bob has found the perfect leading
woman in Madge Evans
THIS was the big sex versus
sweetness month! Some of the
folks are all "agin" sophistication
and are begging on romantically
bended knees for nice little stories
about lassies in curls and lads
who remember how to blush.
While there are those who think
sex is just elegant and the more
lurid the better.
Sure, there are the usual Garbo
and Gable raves — some raving for,
some against — but Connie Ben-
nett walks off with the bulk of the
letters, inspired by the story
'"Why Constance Bennett is Un-
popular in Hollywood" in the
February issue. There seem to be
just two kinds of people in the
world — those who like the new
Marquise and those who don't.
And while Garbo is watching
Connie's popularity grow. Gable
bad better cast a couple of glances
at that lad Melvyn Douglas who
set hearts a-flutter in "Tonight
or Never." He's the new ra\c
Ruth Chatterton's throne is
-wobbling and on another page of
this magazine there's a swell story-
answering all your questions
about Ruth. " I At vers Courageous"'
and "Dance Team" were favorite
films, while Jack Barrymore and
Gene Raymond (one an old stand-
by and the other a new-comer)
got a goodly supply of nosegays.
When the audience speaks the stars and pro-
ducers listen. We offer three prizes for the
best letters of the month $25, $10 and $5.
Literary ability doesn't count. But candid
opinions and constructive suggestions do.
Write up to 200 words, no more. We must
reserve the right to cut letters to suit space
limitations, and we are sorry but no letters
can be returned. Address The Editor,
PHOTOPLAY, 221 West 57th Street, New
York City.
old, rickety, white iron bed, wear a muslin
nightie or drive a battered bunch of tin if our
incomes permitted more than that? Of course
not.
And you can't expect a Joan Crawford or
a Connie Bennett to do it either. You don't
catch Henry Ford in an old Model T.
Mrs. Mary A. Rice, Flint, Mich.
BEAUTIFLL HANDS
In Photoplay there was a picture of Con-
stance Bennett published where there was a
generous display of her hands — and they were
beautiful. Her nails were perfect. Now I do
all my own housework, so naturally my hands
cannot look as they used to, but I looked at
her nails, then at my own. I went right out
and bought a bottle of polish, got my file and
began work. I also bought a bottle of hand
lotion advertised in Photoplay. My husband
commented, that night, upon how nice my
hands looked.
Mrs. J. G. Porter, Birmingham, Ala.
THEY SAW GARBO
By knowing someone who knew someone
who was someone, I watched Garbo work on
the "Grand Hotel" set one afternoon. Not
once did I hear the famous " I t'ank I go home."
She rehearsed with great care.
Not once were the other members of the cast
hurled into abject silence to mollify the tem-
pestuous artiste.
When Director Edmund Goulding relieved the
tedium by strutting across the stage foppishly
with a woman's coat wrapped around him.
Garbo laughed as heartily and as unaffectediy
as anyone on the set. She is a tall, slender girl
in a simple black dressing gown, working ear-
nestly and courteously.
Mona Rogers, Hollywood, Calif.
I would like to apologize for frightening
Greta Garbo while she was in New York. I'm
a Garbo fan and when I saw her coming down
the street I just stood there with my mouth
gaping wide open. I don't know whether it
was my face that frightened her or the fact
that I was staring, but she took one look and
started to run.
But in that minute I saw the Garbo and
she is wonderful!
Beatrice Warburton, New York City
SISTERS IN BOWLS
I paused longer than usual over the page
showing June Collyer and Stuart Erwin as I
was reading Photoplay. I recognized the bowl
in June's hand. The row of tulips upside down
that made the attractive border and the shape
of the bowl is exactly like one in a set I have.
What a surprise to be admiring the convenience
of June Collyer's kitchen and find your mixing
bowl in her hands.
Vivian Shirley, Valley City, N. D.
[ please turn to page 14 ]
Photoplay Magazine for April, 1932
V DYNAwre />
/
BARTHELMES5
^/Z^
Alms the Doctor
luitfi
MARIAN MARSH
Directed ty MICHAEL CURTIZ
vivid, dynamic drama
of a man who LIVED A LIE to save another
from disgrace
. of a woman who fettered his love, chained
his passion, trampled his soul.
Dick Barthelmess at his unrivaled best in a role of
tremendous sweep and power. the most dazzling"
performance of his career.
A FIRST NATIONAL Sc-
VITAPHONE PICTURE
Consult this pic-
ture shopping
guide and save
your time, money
and disposition
JDrief JXeviews of
Current Pictures
ic Indicates photoplay was named as one of Hie best upon its month of review
AGE FOR LOVE, THE— Caddo.— Billic Dove is
good but the old familiar story doesn't click. (Ocl.)
ALMOST MARRIED— Fox— A competent cast,
including Ralph Bellamy and Violet Heming (stage
star), struggle valiantly with a weak story, silly
dialogue and careless direction. (Feb.)
AMBASSADOR BILL— Fox— Will Rogers, a
mythical kingdom and a lot of laughs. (Dec.)
ANYBODY'S BLONDE— Action Pictures— Prize-
fight stuff, with some laughs and exciting moments.
(.Feb.)
• ARE THESE OUR CHILDREN?— Radio
Pictures. — Inside, and pretty serious stuff on
what goes on in some high schools. Neither parents
nor children should miss it. (Dec.)
ARIZONA — Columbia.— (Reviewed under title
"Men Are Like That.") Laura La Plante and John
Wayne find life and love at an army post. (Ocl.)
• AROUND THE WORLD IN EIGHTY
MINUTES — United Artists.— Douglas Fair-
banks in the funniest, trickiest, peppiest travelogue
you've seen. A novelty you must not miss. (Jan.)
• ARROWSMITH — United Artists.— Neither
author Sinclair Lewis nor you will find fault
with this. The story of a doctor, beautifully done by
Ronald Colman and Helen Hayes. A great picture.
(Jan.)
• ARSENE LUPIN— M-G-M.— The two Barry-
more boys, Jack and Lionel, in a picture that
can't be beat for superb acting. Story concerns a
Parisian thief and the captain of police. See this by
all means. (March)
• BAD COMPANY— RKO-Pathe.— A gang
picture that's different, with Helen Twelve-
trees and Ricardo Cortez doing some fine acting.
(Nob.)
BEAST OF THE CITY, THE— M-G-M.— Inside
workings of a city police department — with Jean
Harlow and Walter Huston. (Feb.)
BELOVED BACHELOR, THE— Paramount —
Complications between a sculptor, his ward and his
sweetheart. Paul Lukas and Dorothy Jordan are the
heartthrobs — Charlie Ruggles screamingly funnv.
(Dec.)
BEN HUR— M-G-M.— Although filmed in 1925
and dressed up in new sound effects, this Ramon
Novarro-Francis X. Bushman picture is still eye-
filling and exciting. (Feb.)
BIG SHOT, THE— RKO-Pathe.— A clean little
yarn. Eddie Quillan puts over startling business
deals and wins Maureen O'Sullivan. (Feb.)
• BLONDE CRAZY-Warners.— (Reviewed un-
der the title "Larceny Lane.") James Cagney
and Joan Blondell in another "crook picture" that's
top-notch entertainment. (Ocl.)
BRANDED — Columbia. — Good scenery, good
riding, good ol" Buck Jones. But let's have less talk
and more action in Westerns. (Oct.)
BRANDED MEN— Tiffany Prod.— An old-time
Western with more action than a Democratic con-
vention and just as many thrills. Ken Maynard,
June Clyde and Tarzan, the horse. (Feb.)
• BROKEN LULLABY -Paramount (reviewed
under title "The Man 1 Killed' ' \ poignant
story, excellently directed by Ernst Lubitsch, and
beautifully acted by Lionel Barrymore, Phillips
Holmes and a great east. Take your extra hanky, but
don't miss it. (March)
BUSINESS AND PLEASURE— Fox.
Rogers is a riot. (Ocl.)
-Will
CAIN — Talking Picture Epics. — Although not as
idyllic as "Tabu," this modern Robinson Crusoe story
is both entertaining and beautiful. (March)
CAPTIVATION — Capital Prod. — Ho-hum. a
wife-in-name-only situation, a stouter Conway Tearle
and a leading woman who almost out-Dietrichs
Garbo. Made in England. (Dec.)
• CHAMP, THE — M-G-M. — You'll laugh,
you'll cry, you'll thrill at this superb picture
with those two great artists, Jackie Cooper and
Wallace Beery. Don't miss this one. (Dec.)
CHARLIE CHAN'S CHANCE— Fox— Warner
Oland again is splendid as the whimsical Oriental
detective. But the picture isn't set at a brisk enough
pace. (March)
She is one of the richest
women in Hollywood and
has had her full share of
fame, yet she wants to keep
right on working. Why?
Read next month's
Photoplay
And you'll find
"WhyMaryPkkford
Can't Quit"
Don't Miss It I
CHEAT, THE— Paramount.— In which Tallulah
Bankhead does her acting stuff in an old-fashioned
story'- (Jan.)
• CISCO KID, THE— Fox— Warner Baxter
makes tlie girls' hearts beat double time in this
thriller. The plot isn't new but the treatment is. (Nov.)
COCK OF THE AIR— United Artists.— Obviously
meant to be whimsical, this Billic- Dove story about
a ravishing war-time Parisian beauty went haywire
somewhere along the line. Pretty risque. (Feb.)
COMPROMISED— First National.— ( Reviewed
under the title "We Three.") Just uli-huh on this
one. It neither bores nor thrills. About a million-
aire. (Nov.)
• CONSOLATION MARRIAGE— Radio Pic-
tures.— Don't miss this truly sophisticated 1931
movie, with Irene Dunne and Pat "Front Page"
O'Brien. (Nov.)
CONVICTED — Supreme Features. — A murder
mystery at sea and a good one, with Aileen Pringle
and Harry Myers. (Dec.)
CORSAIR — United Artists. — Familiar gangster
activities transferred to a marine setting, without im-
provement. Chester Morris. (Jan.)
• CUBAN LOVE SONG, THE— M-G-M —
Lawrence Tibbett's voice, Lupe Velez' love-
making and Jimmy Durante's darn foolishness in a
lusty story of marines in Cuba. Great stuff. (Dec.)
• DANCE TEAM— Fox.— Sally Eilers and
Jimmy Dunn hit the bull's-eye once more. The
story is not as gripping as "Bad Girl," but you
mustn't miss those two kidsl (March)
DANGEROUS AFFAIR, A— Columbia.— A fast-
moving and surprise-filled "shrieker" with Jack Holt
and Ralph Graves. (Nov.)
DAUGHTER OF THE DRAGON— Paramount.
— Sessue Hayakawa and Anna May Wong in an
Oriental mystery. Recommended if you like your
murders sinister. (Ocl.)
DEADLINE, THE— Columbia.— A Western with
a really good plot. Better than the average horse
opera. Buck Jones. (Jan.)
DECEIVER, THE— Columbia.— Wicked deceiver,
young girl, backstage atmosphere and a murder. Ian
Keith and Dorothy Sebastian. (Feb.)
DELICIOUS— Fox.— Recommended for Janet
Gaynor-Charles Farrell fans and lovers of clean
entertainment. Janet is a Scotch immigrant and
Charlie the rich young American. (Feb.)
DEVIL ON DECK— Thrill-O-Drama.— All about
a brother's revenge in midocean and the wicked sea
captain's just desert. (Feb.)
• DEVOTION— RKO-Pathe.— Perfect cast, ex-
cellent direction and sparkling dialogue make
this moth-eaten plot a picture you must not miss.
Ann Harding. (Nov.)
• DR. JEKYLL AND MR. HYDE— Para-
mount.— Another horror picture that will send
cold chills and thrills up your spine. Fredric March
and Miriam Hopkins are great. Fred handles the
difficult dual role superbly. Marvelous stuff, but
don't take the kids. (Feb.)
DREYFUS CASE, THE— Columbia.— An accu-
rate account of the famous Dreyfus-Emile Zola
rumpus, made in England with a fine British cast.
(Nov.)
• EMMA — M-G-M. — Another laurel wreath for
Marie Dressier. She makes you laugh and cry
in this moving drama of an old servant's love for her
master's children. (Feb.)
EXPLORERS OF THE WORLD— Raspin Prod.
— Six of the world's greatest explorers tell their
adventures in words and pictures. (Feb.)
EXPRESS 13— UFA. — A thrilling German-
dialogue film that makes you wish you'd paid more
attention to your German teacher. (Oct.)
FALSE MADONNA, THE— Paramount— This
doesn't make you laugh but it hits your heart. Kay-
Francis is good, but a new boy, John Breeden, steals
the show. (Jan.)
FANNY FOLEY HERSELF— Radio Pictures.—
Edna May Oliver's first starring film. You'll laugh
and — what's more — vou'll cry. In Technicolor. See
it. (Ocl.)
FIFTY FATHOMS DEEP — Columbia— Why-
waste Jack Holt and Dick Cromwell on that same old
plot? Oh sure, they are deep sea divers in love with
one girl. (Nov.)
FILE 113— Allied Pictures. — Crimes solved while
you wait. But if you're wise you won't wait. (March)
[ PLEASE TURN TO PAGE 10 ]
8
Photoplay Magazine for April, 1932
SPENDTHRIFTS OF LOVE!
Modern youth,
laughing at yes-
terday's conven-
tions, promising to
pay for today's
kisses . . . after tomor-
row. The gay partner-
ship of a boy and girl
who found it easier to make
love than to make money
TOMORROW
Wl
th
CHARLES FARRELL
MARIAN NIXON • MINNA GOMBELL
WILLIAM COLLIER, Sr.
Based on the stage play by
John Golden and Hugh S. Stange
Directed by FRANK BORZAGE
FOX Picture
Brief Reviews of Current Pictures
[ CONTINUED FROM PAGE 8 j
• PLYING HIGH M-G-M. Comedy with
snappy music used in just the rinli t p
(.(..id dancing, good singing. Bert Lahr and Char-
lotte Greenwood. (Jan.)
FORBIDDEN— Columbia.— Barbara Stanwyck,
Adolphe Menjou and Ralph Bellamy give fine per-
formances in a gloomy "wages of sin" story. (Feb.)
FORGOTTEN WOMEN— Monogram— A bevy
of beautiful girls almost saves this dull yarn about a
newspaper reporter — but not quite! (March)
• FRANKENSTEIN — Universal. — Not for
faint-hearted folks. This is strong horror stuff
which leaves you breathless. But what does that
matter? See it. Boris Karloff out-terrors Lon
Chancy. (Jan.)
FREAKS— M-G-M.— A vivid story of the sordid
lives of the pathetic side-show folks. (March)
FREIGHTERS OF DESTINY— RKO-Pathe.—
Cowboy songs and good comedy put the ginger in
this Western with Tom Keane and Barbara Kent.
(Jan.)
FRIENDS AND LOVERS— Radio Pictures —
Adolphe Menjou. Eric Von Stroheim and Lily
Damita get tangled up in an involved yarn that tries
to be too sophisticated. (Oct.)
GAY BUCK A ROO— Allied Prod.— Hoot Gibson
does his best. Roy D'Arcy his worst and Merna Ken-
nedy her sweetest in this formula Western. (Jan.)
GAY DIPLOMAT, THE— Radio Pictures— Ivan
Lebedeff intrigues the ladies (Betty Compson and
Genevieve Tobin) in this story of Balkan intrigue.
(Oct.)
GIRL OF THE RIO— Radio Pictures.— Dolores
Del Rio comes back strong in this mildly interesting
talkie version of "The Dove." (Feb.)
• GIRLS ABOUT TOWN— Paramount— The
old gold digger story all dressed up in new
clothes. Kay Francis and Lilyan Tashman wear the
clothes and speak those smart lines. (Dec.)
GOOD SPORT— Fox.— Whistle the story— it's
that old and that familiar. But it has good dialogue
and Linda Watkins. (Jan.)
GRAFT — Universal. — A fast action thriller. Regis
Toomey is a dumbbell reporter and Sue Carol is
heart interest. (Oct.)
• GREEKS HAD A WORD FOR THEM,
THE — United Artists. — Sophisticated, smart
and different — honestly! Ina Claire, Madge Evans
and Joan Blondell are the three gold diggers. Not
for children. (Feb.)
GRIEF STREET— Chesterfield.— A wobbly mys-
tery story with pretty Barbara Kent and John
Holland. Save your time. (Dec.)
• GUARDSMAN, THE — M-G-M. — Alfred
Lunt and Lynn Fontanne. You'll be ca-razy
about them in this sophisticated comedy. See it,
but don't take the kids. (Oct.)
GUILTY GENERATION, THE— Columbia.—
No machine guns but plenty of action in this beer feud
drama. Leo Carrillo stars. (Jan.)
HARD IIOMBRE, THE -Allied— For kids and
grown-ups. A novel Western with Hoot Gibson and
Lina Baaquette. (Oct.)
• HATCHET MAN, THE— First National.—
Eddie Robinson goes in for Tong wars and
gives a striking performance. Loretta Young, as a
Chinese girl, is lovely. (March)
HEARTBREAK— Fox.— This has a war back-
ground but it's really a sweet love story. Madge
Evans (what an actress!) takes honors from Charlie
Farrell, a good actor, too. (Dec.)
HEAVEN ON EARTH— Universal.— Recom-
mended only for Lew Ayres fans. (Nov.)
• HELL DIVERS— M-G-M— Wallace Beery,
Clark Gable and the United States Naval Air
Forces turn out a picture of peacetime aviation you
won't forget. (Jan.)
HER MAJESTY LOVE— First National.— Mar-
ilyn Miller, as a beautiful barmaid, tosses off songs
between every glass of beer. This is light, but pleas-
antly entertaining. (Jan.)
HIGH PRESSURE— Warners— A breezy Bill
Powell picture of the "Get- Rich-Quick Wallingford"
type. Both Powell and Evelyn Brent are splendid.
(March)
HIS WOMAN— Paramount. — Gary Cooper and
Claudette Colbert try hard but a baby steals the
picture with its lusty bawling. Claudette plays a
tarnished lady. (Jan.)
HOMICIDE SQUAD — Universal,
another gangster picture. (Nov.)
Ho-hum,
HONOR OF THE FAMILY— First National.—
Nothing left of the Balzac story but the title. Bebe
Daniels is a hot-cha-cha adventuress heroine. (Nov.)
HOUSE DIVIDED, A— Universal.— Life in the
raw with Walter Huston as a hard-boiled sea captain
whose wife falls in love with his son. Huston is grand.
{Jan.)
• HUCKLEBERRY FINN — Paramount. —
This sequel to "Tom Sawyer" will cure the
blues. Jackie Coogan and Junior Durkin take you
back to old swimmin' hole days. (Oct.)
HURRICANE HORSEMEN, THE— Willis Kent
Prod. — A fast moving thriller, with plenty of Spanish
atmosphere. Lane Chandler has the stuff. (Dec.)
HUSBAND'S HOLIDAY — Paramount.— Clive
Brook vacillates between wife and seductive siren.
Amusing enough. (Feb.)
IMMORTAL VAGABOND, THE— UFA.— A
tedious Tyrolean story without a single yodel. Nice
scenery, good acting, English dialogue. (Oct.)
IN LINE OF DUTY— Monogram Prod.— The
Northwest Mounted Police get their man again. This
time it's Noah Beery. Sue Carol is the girl. (Dec.)
IS THERE JUSTICE?— Thrill-O-Drama— In
spite of a good cast this yarn about attorneys, crooks
and newspaper reporters just isn't there. (Feb.)
• HELL'S HOUSE-Ziedman Prod.— (Reviewed
under the title "Juvenile Court"). Have
yourself a good cry over this excellent and pathetic
story. Junior Durkin and Pat O'Brien are splendid.
(Feb.)
• LADIES OF THE BIG HOUSE— Para-
mount.— An emotional story about women
prisoners, with some terrific scenes you'll never forget.
Sylvia Sidney does her best work. (Feb.)
• LADIES OF THE JURY— Radio Pictures.—
This movie is one of the big laugh-makers of
him history. And Edna May Oliver — but you know
how swell she is! Take the children. (Feb.)
LAST FLIGHT, THE— First National.— Gay
aviators in Paris make the first half grand, but the
somber part is not so good. Richard Barthelmess'
work is overshadowed by the others in the cast. (Oct.)
LAW OF THE TONGS— Willis Kent Prod.— A
Chinaman is the gentle hero in this melodrama.
You'll shed a tear or two over his death. (Feb.)
LEFTOVER LADIES— Tiffany Prod.— Divorcees
talk a lot about careers and freedom in dreary
dialogue. Claudia Dell, in a brunette wig, is good.
(Dec.)
LOCAL BAD MAN, THE— Allied Pictures.— A
mild Western with Hoot Gibson gone naive. (March)
• LOCAL BOY MAKES GOOD— First Na-
tional.— Joe E. Brown is funnier than he's ever
been, in this story of a college grind with inhibitions
and botanical aspirations. (Dec.)
LOVE STORM, THE— British International.—
Three men and one woman are exiled to a lighthouse.
Even a murder doesn't speed things up. Dreary fare.
(Dec.)
• LOVERS COURAGEOUS — M-G-M. — An
old story done beautifully by Bob Montgomery
and Madge Evans. You'll like it. (March)
MAN WHO PLAYED GOD, THE— Warners.—
An unusual theme, with George Arliss dominating the
picture. Decidedly worth your while. (March)
MAKER OF MEN— Columbia.— A football
coach is the hero of this appealing, if slightly slow-
moving story. Good work by Richard Cromwell and
Jack Holt. (Feb.)
MANHATTAN PARADE— Warners— Broadway
gets a chance to see itself satirized. Laughs by the
vaudeville team of Dale and Smith, helped by Win-
nie Lightner and Charles Butterworth. Technicolor.
{Feb.)
*MATA HARI— M-G-M.— Garbo and Novarro
are co-starred in a glittering story of the most
romantic of all war spies. Grand supporting cast in-
cludes Lionel Barrymore and Lewis Stone. (Feb.)
MEN ARE LIKE THAT— Columbia. — (Also
shown under the title of "Arizona.") Laura La Plante
and John Wayne find life and love at an army
post. (Oct.)
[ PLEASE TURN TO PAGE 13 ]
Photoplays Reviewed in the Shadow Stage This Issue
Save this magazine — refer to the criticisms before you pic\ out your evening's entertainment. Ma\e this your reference list.
Page
Air Eagles— All-Star 116
Alias the Doctor — First National 52
Behind the Mask — Columbia 53
Cross Examination — Supreme 116
Disorderly Conduct — Fox 52
Dragnet Patrol— All-Star 116
Drifter, The— All-Star 117
Expert, The — Warners 53
Final Edition — Columbia 116
Fireman, Save My Child — First Na-
tional 53
Fool's Advice, A — Frank Fay Prod. . 116
Gay Caballero, The — Fox 116
Page
Hotel Continental — Tiffany Prod 52
Impatient Maiden, The — Universal.. . . 52
Lady With a Past— RKO-Pathe 51
Lost Squadron, The — Radio Pictures 50
Menace, The — Columbia 116
Monster Walks, The — Action Picturesll6
Murder at Dawn — Big Four Prod 1 16
Nice Women — Universal 1 16
One Hour With You — Paramount 50
Passionate Plumber, The— M-G-M. . . . 51
Polly of the Circus— M-G-M 52
Road to Life, The — Amkino 116
Saddle Buster, The— RKO-Pathe 117
Page
Sally of the Subway — Action Pictures. .117
Shanghai Express — Paramount 51
She Wanted a Millionaire — Fox 53
Shop Angel — Premier Attractions 116
Steady Company — Universal 116
Strangers in Love — Paramount 52
Tarzan, the Ape Man— M-G-M 50
Texas Gun Fighter— Tiffany Prod 116
Wayward — Paramount 53
Wiser Sex, The — Paramount 53
Without Honor — Supreme 116
Zane Grey's South Sea Adventures —
Sol Lesser 117
10
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Brief Reviews of Current Pictures
[ CONTINUED FROM PAGE 10
MEN IN HER LIFE— Columbia.— The dialogue
crackles, but the old story creaks. All about a rich
girl in Europe and a rough and ready American. Lois
Moran and Charles Bickford both good. (Jan.)
MEN OF CHANCE— Radio Pictures.— The old
story of the woes of a gambler's wife, well acted by
Ricardo Cortez and Mary Astor. (Feb.)
MICHAEL AND MARY— Universal.— Matinee
idol Herbert Marshall should have better material
than this slow moving English film. Wife Edna Best
plays opposite him. (March")
MONKEY BUSINESS — Paramount. — Messrs.
Marx, Marx, Marx & Marx in another outbreak of
assorted lunacy. No beginning, no end — just gor-
geous nonsense. (Oct.)
MORALS FOR WOMEN— Tiffany Prod.— This
"it's the woman who pays" yarn takes a couple of new
routes and brings back trouper Bessie Love. (Jan.)
MOTHER AND SON — Monogram Prod. —
Another Reno story, with Clara Kimball Young as
Faro Lil. (Oct.)
MURDER AT MIDNIGHT— Tiffany Prod.—
Yep, it's a mystery story and a swell one! Alice
White, in a small part, has a sex-appeal voice. (Oct.)
• MURDERS IN THE RUE MORGUE—
Universal. — Here's another shocker for you
with plenty of thrills and chills. Bela Lugosi and the
ape deserve a big hand. (March)
MY SIN — Paramount. — Tallulah Bankhead and
Fredric March in one of those "should a woman tell
her past?" things. (Nov.)
MYSTERY TRAIN, THE— Darmour Prod.— Old
school mystery melodrama with plenty of sure-fire
hokum and suspense. (Nov.)
NECK AND NECK— Thrill-O-Drama— Only
Stepin Fetchit's funny face and voice save this dull
race-track story from a complete case of the dol-
drums. (Jan.)
• NEW ADVENTURES OF GET-RICH-
QUICK WALLINGFORD, THE— M-G-M —
And they said William Haines was slipping! See this
knock-out comedy with Billy and the coming big
shot, Jimmy Durante, to be convinced they're
wrong. (Nov.)
NIGHT BEAT— Action Pictures.— Unless you
simply can't exist without another gangster picture,
pass this one by. (March)
NIGHT RAID (UN SOIR DE RAFLE)— Osso
Prod. — A lively French film about a prize-fighter, his
real sweetheart and a siren. Amusing. (Dec.)
NO ONE MAN — Paramount. — Sumptuous
clothes, gorgeous sets, smooth direction, Carole
Lombard and Paul Lukas almost make up for the
tottering plot. (March)
OLD SONG, THE (Das Alte Lied)— Austrian
Cinderella. Lil Dagover brightens it considerably.
German dialogue. (Nov.)
ONCE A LADY — Paramount. — Charming sim-
plicity and Ruth Chatterton's acting redeem a not too
original story. (Dec.)
ONE WAY TRAIL, THE— Columbia.— The Kids
will love these exciting adventures of handsome Tim
McCoy. (Dec.)
OPERA BALL — Greenbaum-Emelka Prod. —
English lines flashed on the screen make it possible
for you to enjoy this sprightly German production of
Viennese night life. (Jan.)
• OVER THE HILL— Fox.— Mae Marsh's
screen return as the self-sacrificing mother un-
wanted by her children. Jimmie Dunn and Sally
Eilers, too. (Jan.)
PAGAN LADY— Columbia.— The SadieThompson
theme in a new dress, with Evelyn Brent wearing it
becomingly. (Nov.)
• PALMY DAYS— United Artists.— A typical
Eddie Cantor-and-nonsense show that should
bring film musicals back. (Oct.)
PANAMA FLO— RKO-Pathe.— Different situa-
tions went haywire in a potpourri of speakeasies,
honkey-tonks and jungles. So what could Helen
Twelvetrees and Charlie Bickford do? (March)
PARDON US— Hal Roach— M-G-M— Laurel and
Hardy in a lot of hokum. Funny. (Oct.)
PARISIAN, THE— Capital Prod.— This attempt
at a smart story made in England with Adolphe
Menjou and Elissa Landi proves that these glamour
kids get that way in Hollywood. (Nov.)
PEACH O' RENO — Radio Pictures. — Bert Wheeler
and Robert Woolsey in an absurd plot concoction of
Reno's divorce colony. Short on romance but long on
laughs. (Jan.)
PENROD AND SAM— First National.— If you
haven't forgotten how it feels to be a kid you'll love
Leon Janney and Junior Coghlan in this. (Nov.)
PERSONAL MAID— Paramount.— Nancy Car-
roll gets all mixed up in a namby-pamby plot. (Nov.)
• PLATINUM BLONDE— Columbia.— Youth
and beauty, comedy and drama — and Jean
Harlow. A well done newspaper yarn. See it. (Dec.)
Voting Time
Is Here
Have a part in selecting
the
outstanding motion picture
that will win the twelfth
an-
nual award of the PHOTO-
PLAY Medal of Honor.
Your ballot awaits you
on
page 118.
POCATELLO KID, THE— Tiffany Prod.— Ken
Maynard in another Wild Western setting; Marceline
Day, the lady in distress. (Feb.)
• POSSESSED— M-G-M.— What a pair Joan
Crawford and Clark Gable make in a picture
that has plenty of action, sophistication, and gorgeous
clothes. (Jan.)
PRESTIGE — RKO-Pathe. — Ann Harding is
lovely, which doesn't quite compensate for this hap-
hazard yarn about a tropical penal colony. (March)
• PRIVATE LIVES— M-G-M.— Norma Shearer
and Bob Montgomery do good team work in
this farce made amusing by priceless, if risque, lines.
You one hundred per cent sophisticates will have
yourselves a fling. (Feb.)
PRIVATE SCANDAL, A — Headline Prod —
Another underworld story in which the crook re-
forms. (Oct.)
RACING YOUTH— Universal.— If you aren't too
critical, you'll enjoy this story of automobile road
racing with Frank Albertson, June Clyde and Louise
Fazenda. (Jan.)
RAINBOW TRAIL.— Fox.— George O'Brien tries
to make a weak Western come to life. (Feb.)
RANGE FEUD, THE— Columbia.— Buck Jones
may be your favorite Western star but you'll twiddle
your thumbs at this banal old story. (Dec.)
RANGE LAW— Tiffany Prod.— This Western
taxes the credulity but Ken Maynard does some slick
riding. (Jan.)
RECKLESS LIVING— Universal.— An entertain-
ing little picture. (Nov.)
RICH MAN'S FOLLY— Paramount.— One of
those stark dramas in which George Bancroft as an
ambitious shipbuilder wrings sympathy out of an un-
sympathetic role. (Jan.)
RIDERS OF THE PURPLE SAGE— Fox— A
grand Western with fast action, grand Arizona
scenery and marvelous production. George O'Brien
and Marguerite Churchill excellent. (Dec.)
ROAD TO RENO, THE— Paramount.— Divorce,
murder, suicide and an important cast fail to make
thisanythingbuta picturethat justdoesn't jell. (Nov.)
ROAD TO SINGAPORE, THE— Warners.— Bill
Powell and Doris Kenyon — splendid in a tropical
drama of tangled loves and desires. (Oct.)
SAFE IN HELL— First National.— The only re-
deeming thing about this sordid story of a shady lady
is the work of Dorothy Mackaill, who deserves better
stuff. (Jan.)
« SEA GHOST, THE— Imperial Prod.— Laura La
Plante wasted on this cheap, ridiculous story. (Nov.)
SECRET WITNESS, THE— Columbia— ZaSu
Pitts as a flustered telephone operator adds her usual
deft humor to a mystery with a double murder and a
couple of suicides. (Feb.)
SECRET SERVICE— Radio Pictures.— Adven-
tures of a Northern spy behind the Confederate lines.
Richard Dix tries too hard. (Dec.)
SHANGHAIED LOVE— Columbia.— Mutiny and
gory evil-doings at sea. Too much dialogue. Not
enough action. (Nov.)
SHOULD A DOCTOR TELL?— Regal Prod.—
Dreary talk about dreary ethics. Who cares? (Nov.)
SIDEWALKS OF NEW YORK— M-G-M— A
laugh a moment and just the right number of
moments with "dead pan" Buster Keaton, Cliff
Edwards and Anita Page. (Oct.)
SILENCE — Paramount. — Sure-fire melodrama
with a punch. Clive Brook, Marjorie Rambeau and
Peggy Shannon. (Oct.)
SILENT WITNESS, THE— Fox.— A court-room
story that is good enough for an evening. And watch
out for this boy Lionel Atwill, new to the talkies.
(March)
• SIN OF MADELON CLAUDET, THE—
M-G-M.— One of the greatest mother stories
ever filmed, with Helen (stage) Hayes pulling at your
heart-strings. Don't miss it. (Dec.)
SKYLINE— Fox.— Thomas Meighan builds sky-
scrapers and saves Hardie Albright from vamp
Myrna Loy. Good entertainment. (Oct.)
SKY DEVILS— United Artists. — Plenty of giggles,
even if you have seen and heard those gags before.
The air stuff is great. (March)
SMART WOMAN— Radio Pictures.— What a
performance Mary .'.stor gives and in what beautiful
clothes! A charming, sophisticated yarn of the
"Holiday" school. {Oct.)
SOB SISTER— Fox.— You'll like this fast news-
paper yarn and Linda Watkins. Jimmie Dunn is
grand, too. (Nov.)
SOOKY — Paramount. — Even if this does resemble
"Skippy," without equalling its success, young and
old will like it. The gang's all there (Jackie Cooper,
Robert Coogan and Jackie Searl) with tears and
laughs. (Feb.)
SPECKLED BAND, THE— First Division —
Sherlock Holmes is at it again, finding sinister East
Indian death methods used in an English country
house. (Jan.)
SPIDER, THE— Fox.— Thrills and shivers over a
murder in a theater. Eddie Lowe is grand and
suspense is geared on high. (Oct.)
• SPIRIT OF NOTRE DAME, THE— Uni-
versal.— Knute Rockne lives again in this
powerful football story with Lew Ayres and the real
Notre Dame team. (Dec.)
SPORTING CHANCE, THE— Peerless Prod.—
The famous young jockey throws the race, but is re-
deemed by the love of the stable owner's daughter.
(Jan.)
STEPPING SISTERS— Fox.— Louise Dresser,
Minna Gombell and Jobyna Howland work hard as
hard can be and get only a few mild snickers. (March)
• STREET SCENE— United Artists.— Thirty-
four excellent actors and super-direction by
King Vidor make this one of the great pictures of
the year. A vivid cross-section of life you'll never
forget. (Oct.)
• STRICTLY DISHONORABLE— Universal.
— You'll love this story of the grand opera
singer captured by the innocent little girl from
Mississippi. Paul Lukas, Lewis Stone and Sidney Fox
all great. (Dec.)
[ PLEASE TURN TO PAGE 129 ) -
13
What the Audience Thinks
c i>\ I [NUED PROM PACE 6
MOTHER \M> DAUGHTER
The movies give me an insight into my
daughter's likis and ilislikrs and a chance for
u- to gel much closer together by discussing
them.
[fany mother wishes to find out the character
of her daughter's companions let her take them
to tile movies and watch their reactions to cer-
tain scenes. It never fails.
Mrs. Grace Bettfreund,
Salt Lake City, Utah
CONNIE BENNETT OPINIONS
Won't somebody please say a kind word for
Constance Bennett? Just because she makes
a little more money than some of the rest of
the stars do and carries herself like a regal lady
people have to slam her. Connie can't help il
because she is the kind of person she is. I'd
rather have her be her own natural self than
assume a pose.
Locella France, Powell, Ohio
In the February Photoplay I was pleased
to read about our lovely Connie Bennett re-
fusing to pose for stills in her underwear. It
is gratifying to know that there is one girl in
Hollywood who does not have to show her
figure to be popular.
Mrs. J. R. White, Huntington, W. Va.
I have often heard of damning a person with
faint praise, but not praising with faint damns
— as Ruth Biery does in her article about Con-
stance Bennett in a recent Photoplay. I
agree with the article until it is spoiled by the
last two paragraphs. I don't think that the
general public likes Constance Bennett any
better than does Hollywood.
Donald K. Johnstoxi:, Halifax, X. S.
I have always admired the American people
for their sincerity and frankness and I surely
enjoyed Ruth Biery's recent article about
Constance Bennett for that reason. She writes
openly and expresses Hollywood's opinion
of this star.
Concepcion Fernandez, Clifton, Ariz
An enormous crowd gathered around the sta-
tion at Albuquerque to see Constance Bennett.
I thought, "When she sees this mob she will
never get off that train. " But she did and in
spite of the bad publicity she got while she
was here she came up to my expectations
What if she did high hat the reporters? She
was sweet to the kiddies. I am a more ardent
Bennett fan than ever and am anxiously await-
ing her next picture.
IlCAE Penman, Albuquerque, X. M.
HEAR YE, CENSORS!
If the producers want bigger theater attend-
ances force the censors to stop cutting out the
best parts of the picture and quit over-adver-
tising any production in any manner.
Jack Kronberg, Eau Claire, Wis.
SUGAR OR SPICE?
One can scarcely believe that there are such
things as censors after witnessing some of the
new pictures.
It has gone far enough!
If many more pictures like 'Private Lives"
and "Cock of the Air" get by the censors I'm
turning elsewhere for my entertainment. The
public prefers clean, wholesome pictures. Why
can't we have them?
Mary Hi'lbert, Franklin. X. J.
I enjoy taking my family out to see a good
screen production. If some particular picture
has been branded too sexy, that is the one I
want the family to see, for that is life itself.
Why should the rising generation acquire
knowledge the " bootleg way''? Let's have as
much freedom for the screen, as the press en-
joys.
EARL Roberts, Kenton, Ohio
The rapidity with which Janet Gaynor is
falling into sweet innocent parts will soon drop
her into the discard, as it did Mary Pickford
and Colleen Moore. Only older women, maid-
en ladies, school girls and children can endure
these tiresome "sweetish" pictures, the ending
of which is obvious from the start. Sugar
coated as they are, they are not good for
children.
Many romantic girls in the Victorian era
fell for just such goody-goodish stuff and
awoke to find out the reality of life. Girls of
today understand men much better and, ac-
cordingly, take better care of themselves. It
i~ too bad to waste Charles Farrell and Janet
Gaynor on such unrealities.
Emeroi Stacy, Portland, Ore.
[ PLEASE torn to page 16 ]
Extra! The first still of Greta Garbo as you will see her in "Grand Hotel."
And doesn't she look grand? That gorgeous lounging costume is cloth of
gold done in the Chinese manner with high neck, frog fastening and all.
Perhaps that individual Garbo hairdress with a round comb at the back will
launch another hair style. Garbo never fails to stir up something, does she?
n
Photoplay Magazine for April, 1932
l5
YRES
and
MAE
CLARKE
"IMPATIENT
MAIDEN"
She couldn't wait for life to
unfold its secrets. She was
determined to dig them out
for herself. My! How her
eyes were opened when
she met the real man
Directed by
JAMES WHALE
UNIVERSAL PICTURES
CARL LAE3IMLE • PRESIDENT
What the Audience Thinks
[ I i)M!M ED FROM PACE 14
DARLING MARIE
In a waiting line before a box office one
bean many a casual remark about the leading
lady or the leading man, but whenever one is
waiting to see Marie Dressier one hears, "I
can hardly wait to see her." "I know she'll
be perfect in this role." "There's no one like
her." But when the play is over and the
people are leaving the theater all one hears is,
"The darling!"
Rita Pexebsky, San Francisco, Calif.
SO THERE, MR. RUGGLES!
The author-director Wesley Ruggles picks
out one very far fetched case in a million,
highly exaggerates it and then calls it "Are
These Our Children? " Where does he get that
stulT? I wonder how Mr. Ruggles would like
for someone to make a picture about a couple
of dissipated old bums and then call it "Are
These Our Directors?"
Richard Bake, Modesto, Calif.
SPOTLIGHT FOR CAROLE
I work in an office with fifteen girls and we
wonder why so much ballyhoo about Constance
Bennett when we have a girl like Carole Lom-
bard on the screen? If given half a chance
she'll have the spotlight before Miss Bennett
wakes up to what it's all about.
Stella Coyxer, Akron, Ohio
A SOCK AT PHOTOPLAY
I noticed with a great deal of surprise Pho-
toplay's review of Griffith's "The Struggle"
and the very caustic manner in which the pic-
ture was treated. Evidently Photoplay's
memory is as short and as lacking in loyalty
as the general public's, for you seem to over-
look the fact that you most generously lauded
him not so long ago for "Abraham Lincoln."
This was one of the finest talking pictures ever
made and Griffith proved he knew how to use
that medium. But don't expect a masterpiece
like that every time. It can't be done.
It is unfortunate that a genius like Griffith
refuses to work under contract and yet has in-
sufficient capital to make his own pictures.
" The Struggle" is undoubtedly a result of this.
J. E. Bailey, Houston, Texas
INSPIRATION
I have read many articles about Marion
Davies, but never before has there been one
which revealed her true self as clearly as the
one in February Photoplay called "Marion's
Philosophy. " Marion is a lovely girl and I'm
sure her thoughts will be an inspiration to us
all.
Bertram G. Kxowles, East Orange, N. J.
A PERSONAL MATTER
A fan may criticize a star's acting but not
choose her husband. Why do some people
write that Constance Bennett should not have
married I lie Marquis? Why did they complain
of the people Janet Gaynor and Charles Farrell
selected? The stars have a right to choose
their own mates.
Ji ua La Salvia, Philadelphia, Penna.
GENTLEMAN GABLE
Clark Gable is a one role actor. As the hard
boiled gangster he is swell, but when they try
to make him a gentleman he just isn't there.
m
Clark had better stick to the only thing he
knows how to do and that's to act tough.
\Iii.i';\ M walks, San Francisco, Calif.
SEYMOUR SAYS "THANKS"
I attend the movies to see good pictures, but
chielly to see the new styles. I duplicate as
near as possible the fashions. Shearer, Ben^
nett and Crawford just can't go wrong with
Seymour's praise and frank criticisms. My
mother is a seamstress and, consequently, I
write every detail down in my memory to take
home to her so that I, too, may be smartly
dressed.
Buella Walker, Louisville, Ky.
This clever suit is beige, it has a
striped scarf and it is simplicity per-
sonified in line. Note the "S" belt
fastening and the pert stitched felt
bonnet. Evalyn Knapp wears it
GARBO COMPLVINT
I am a Garbo fan but I think Garbo the most
selfish star on the screen today She has no
right to ignore us, the public. Didn't we make
her a star? Unlike Garbo. Ramon Xovarro
always sees that his fan mail is taken care of
and we do appreciate it.
Makjokie Haw ley, Barre, Vt.
FROM A TROUPER
I am a retired black-faced comedian and al-
though my days of entertaining are over I still
get the thrill of being entertained. I am a pic-
ture fan and no matter how tired I happen to
be I find my way to a movie theater where I
particularly enjoy Norma Shearer. George Ban-
croft, Marie Dressier, Ruth Chatterton and
Oliver Hardy.
J. B. Elliotte, Indianapolis, Ind.
CHARLIE AND CLARK
I can't understand why Charlie Farrell is al-
ways knocked when he appears in movies
without Janet Gaynor. Of course, she is my
idol, but Charlie Farrell is my favorite actor
and I can't see why people say he is miscast.
I am sure he will be remembered long after
Clark Gable is forgotten.
Dorothy France, Powell, Ohio
LANGDON SUPPORTER
Before reading the story entitled "What
Happened to Harry Langdon'' in Photoplay
we felt as the majority of people felt about
Langdon, that he just wasn't big enough to be
a great star. But now I would like to have
the power to write a two-page letter that
would help him as much as another letter of
an unthinking director hindered him.
Carlos Hulse, Kamas, Utah
DECORATING DEPARTMENT
For a long time I was dissatisfied with the
look of my colonial mantel and square mirror
above, but I never saw just what I wanted un-
til I saw "Possessed" and that lovely plain
round mirror (with the picture of Clark Gable
at the left). I knew that was just what I
wanted, so now I have a mirror like the one
Joan had in that excellent film.
Mrs. I. L. Wall, Memphis, Tenn.
After I became a home owner I depended
solely upon the silver screen for suggestions in
the art of how to make a window more at-
tractive or a corner more cozy.
M. C. Love, Graton, Conn.
TOO BAD. RUTH
If "Tomorrow and Tomorrow" is her de-
ciding picture I am sorry to say that Ruth
Chatterton, the great, has gone over the cliff.
It was the first time I sat through a Chatterton
picture listening to snickers and laughs while
Ruth was in her most serious moments.
Edith Rcdick, Minneapolis. Minn.
MARIAN MARSH
Hats off to the lovely little magician whose
smile made theatergoers believe they had seen
and heard a photodrama when they had only
attended "Under Eighteen." What a shame
that Marian Marsh's first starring vehicle had
to have a plot that simply wasn't there.
Love Dozier, Thomson, Ga.
[ please turn to pace 121 ]
Photoplay Magazine for April, 1932
At one-third the mouth wash cost
guard the whole family against colds
PEPSODENT ANTISEPTIC is 3 times as powerful as any other leading
mouth wash. Hence it goes 3 times as far. That's economy for you !
Why waste money on antiseptics that must be used full strength?
PLAIN, simple arithmetic is
causing millions to change to
Pepsodent Antiseptic. Because
Pepsodent Antiseptic is three times
as powerful as other leading mouth
washes . . . hence it goes three times
as far— gives you three times as much
for your money and gives you extra
protection against colds, irritated
throats. For protection against
germs associated with common ills,
remember there are only two lead-
ing kinds of mouth washes. On the
one hand you have the mouth wash
that must be used full strength to
be effective. On the other hand you
have Pepsodent Antiseptic, utterly
safe even if used full strength, yet
powerful enough to be diluted with
twopartsof water and still kill germs
within 10 seconds. It is bad enough
to have germs in your mouth before
you gargle . . . it's worse to have germs
in your mouth after you gargle. . . so
choose the antiseptic that kills the
germs even when diluted. Insist on
Pepsodent Antiseptic— and be sure!
Be safe— and save money!
BAD BREATH (Halitosis)
Pepsodent Antiseptic does double duty when
combating colds and throat irritations. For at
the same time it checks bad breath. Remem-
ber P. A. is 3 to 11 times more powerful in
killing germs than other leading mouth anti-
septics . . . and it kills germs when diluted.
Over 50 different uses
Cold in Head
Throat Irritations
Voice Hoarseness
Bad Breath
Cold Sores
Canker Sores
Mouth Irritations
After Extractions
After Shaving
Minor Cuts
Blisters
Loose Dandruff
Checks Under-Arm
Perspiration
Tired, Aching Feet
Amos 'n' Andy brought to
you by Pepsodent every night
except Sunday over N. B. C
Pepsodent Antiseptic
i8
Photoplay Magazine for April, 1932
Evalyn Knapp, lovely Warner Bros, player, personifies t.
modern figure with the reel and in reel life. For evenm
site chooses this moulded silhouette gown — difficult to we,
but charming with hrr slender, rounded figure. Pajamas /
tennis are both attractive and comfortable.
CI>UX2MJZJ£AJNEVER LIE . . . TODAY!
Rounded slimness and youthful
curves are the keynote for the current
year. Modern fashions are moulded
to the figure. Where dresses once
concealed, they now reveal. Never
was a good figure so important.
Yet we must use wisdom in achiev-
ing this desired figure. So many
women, today, have lost both
health and beauty, because of a faulty
reducing diet.
Two things are needed in a meal
to promote proper elimination. These
are "bulk" and Vitamin B, both of
which help tone the system. If they
are lacking, faulty elimination soon
develops. Complexions become sallow.
Eyes lose their gaiety. Wrinkles ap-
pear. Headaches, loss of appetite and
energy follow.
Improper elimination is usually un-
necessary. Avoid it by eating Kellogg's
All-Bran. Science tells us that this
delicious cereal provides both "bulk"
and Vitamin B. Its bulk is similar to
that of leafy vegetables.
Isn't it reasonable to use this de-
lightful cereal rather than pills and
drugs — so often habit-forming? Two
tablespoonfuls daily of Kellogg's
All-Bran will prevent and relieve
most types of faulty elimination.
Kellogg's All-Bran is also a good
source of iron for the blood. Serve as
a cereal, or cook into bran muffins,
breads, omelets, etc. It is not fatten-
ing. Recommended by dietitians.
Recipes on the red-and-green pack-
age. At all grocers. Made by Kellogg
in Battle Creek.
WRITE FOR FREE BOOKLET
"THE MODERN FIGURE"
Leading motion-picture actresses are
shown to you in "fashion close-ups,"
wearing the costumes that millions of
critical eyes will see on the screen.
Everything from sports-togs to eve-
ning gowns. In addition, the booklet
is full of valuable information on how
to reduce wisely. Free upon request.
'"
KELLOGG COMPANY
Dept. D-4, Battle Creek, Mich.
Please send me a free copy of your
booklet, "The Modern Figure."
\ame
Address.
IVlm! iry Trances Dee's
Special Waffle liecipe
HOLLYWOOD breakfasts
vary from a cup of hot
water with lemon juice to
really hearty affairs, according
to the figure of the star! Those
who don't have to use breakfast
for an abstinence from sweets
and fats, have some favorite
breakfast dish recipes that are
worth copying into your own
recipe book.
There's Frances Dee, for in-
stance, who gives waffle break-
fasts that are the envy of the
town. When I asked Frances to
what she attributes her waffle
success, she promptly replied,
"The beaten whites of eggs!"
And forthwith gave me this
simple but excellent recipe.
Waffles
2 cups flour
Vi teaspoon salt
2 eggs
2 teaspoons baking powder
2 tablespoons butter
2 cups milk
First sift your flour, baking
powder and salt together. In a
small pan melt the two table-
spoonsful of butter, add to the
flour mixture. Don't hesitate to
use a generous quantity of butter
if you are going to cook the
waffles on an electric iron as it helps to keep the batter from
sticking. To this add the beaten yolks of the two eggs and two
cups of milk. Now come the egg whites, beat them stiff and
fold them into the rest of the batter. Don't stir afterwards as
the egg whites are what make the waffles so fluffy and light.
Ruth Chatterton's breakfast menu doesn't require any care-
ful planning beforehand! She does not have a bit of solid food,
merely fresh fruit and milk. During the day she consumes
about two quarts of milk in all.
Sidney Fox is one of the hot water and lemon juice girls.
Like Ruth Chatterton, she has no solid food.
Here's a typical morning menu for her: a cup of hot water
with lemon juice, some kind of cooked fruit, coffee and yeast.
Rochelie Hudson, who is one
of the younger and newer stars
of Hollywood, has a pet break-
fast dish — it is baked egg. Bak-
ing the egg takes no longer than
it does for you to boil one.
Evalyn Knapp is one of the
heartier breakfast eaters. Her
menu includes either prunes or
grapefruit, cooked cereal, eggs
and bacon, buttered toast — and
she has a different hot water ar-
rangement. She has a cup of hot
water with a little cream added.
Prunes at Evalvn's house are
made more delectable by being
cooked with lemon slices — or by
having the prunes covered with
a Sherry sauce before serving.
Try these some morning.
T,
HE young Douglas Fairbanks
Beaten whites of eggs are the trick which make
the Dee waffles tastier than any others in Holly-
wood. And here's Frances going efficiently
about the job in her own kitchen
Baked Egg
COVER the bottom of an in-
dividual baking dish with
milk and add a few cracker
crumbs. Into this break an
egg. Then add a dash of salt,
pepper and a whole cracker,
finely crumbled. Over this pour
a little milk. Add a small piece
of butter. Bake three minutes.
Sounds delicious, doesn't it?
served on trays in their rooms.
Both Joan and Doug like to
start off with orange juice, but
from there they branch off in
tastes. Joan likes a small
breakfast, Doug an ample one.
One of Joan's pet peeves is
coffee that is not piping hot. I
have seen her insist that her
coffee be served in a thermos
jug, even at table in a hotel. For
breakfast in bed she has a small
vacuum jug that brings it red
hot from the kitchen.
Orange juice, toast and coffee
are the usual proceeding for
Joan. Doug likes to have new
twists to his menu. One of them
is a special way to fix bacon.
I don't know that this has any
special name, but here is what you do. Dip the pieces of bacon
in an egg which has been slightly beaten. To this egg you have
added a pinch of dry mustard, a teaspoon of vinegar and a pinch
of red pepper. Taking the slices from the egg, roll them in
cracker crumbs. Then lay the strips across the wire rack of
your broiling pan. Cook the bacon until it is brown and crisp.
BETTE DAVIS certainly is no help to the collector of break-
fast recipes. Her sole fare consists of a glass of orange juice,
one slice of either raisin or bran bread, toasted; prunes and a
cup of black coffee!
Because Jobyna Ralston Arlen is Southern, tasty corn
breads appear frequently on the Arlen breakfast table. Corn
dodger is a great favorite. These
cakes can be cooked on an elec-
tric griddle.
Photoplay Magazine
919 N. Michigan Ave., Chicago, 111.
Please send me a copy of Photoplay's Famous
Cook Book, containing 150 favorite recipes of the
stars. I am enclosing twenty-five cents.
Be sure to write name and address plainly.
You may send either stamps or coin.
Corn Dodgers
1 cup corn meal
J4 cup water
J4 teaspoon salt
Be sure that you select the
white corn meal for this dish. Stir
the ingredients in the order listed.
When the mixture has reached
dough consistency, make up into
oval or round shaped cakes.
Cook on a hot griddle.
CAROLYN VAN WYCK
19
2()
Photoplay Magazine for April, 1932
Sore Throat and Colds
Start This ^Wqy
symptom
. . . gargle yisterine every 2 hours . . .
Quick relief
Colds that would ordinarily
last 9 days, vanish in 3
Look out for wet or cold feet, draughts,
sudden changes of temperature ; any un-
due exposure. All are contributing causes
of the common cold and sore throat.
Such exposure lowers resistance so that
germ organisms in the mouth and nose
get the upper hand. Illness follows. At
the first sign of trouble, gargle with
Listerine night and morning. Better still,
every two hours.
Listerine reduces mouth bacteria 98%
and allays pain and irritation. It's amaz-
ing how frequently this treatment will
break up a cold.
Actual tests show that colds that would
ordinarily last nine or ten days, vanish in
three or four. Colds, instead of being
severe, are mild. Repeated tests on human
beings have proved this again and again.
These tests also revealed that the reg-
ular twice-a-day Listerine gargle is a re-
markable preventive of colds.
Experiments show that non-Listerine-
users contracted twice as many colds as
those who gar-
gled with Lister-
ine twice a day.
And the colds
lasted three
times as long.
Such brilliant results could not be ex-
pected from mouth washes so harsh they
irritate tissue. Listerine's success is due
to the fact that, while it kills germs, it is
soothing and healing to tissue. Make a
habit of using Listerine every day. It not
only safeguards your health, but automat-
ically makes your breath sweet, whole-
some, and agreeable. It instantly ends
halitosis (unpleasant breath), the unfor-
givable social fault. Lambert Pharmacal
Co., St. Louis, Mo.
Your guide in buying a mouth wash
T7ATAL TO GERMS YET SAFE
r
The Lancet of London never bestows its commendation on a
product without subjecting it to critical tests. And now this
great medical authority attests the safety and germicidal power
of Listerine. Remember that when you buy.
It
Ernest A. Bachrach
THERE'S a sparkle in the Del Rio eye and fire in the Del
Rio soul again. Dolores, staging a comeback after a long
illness, has forgotten her sleek-gracious-societymatron off-screen
pose and is now giving everything she's got to the camera in "The
Bird of Paradise," on location in Hawaii
Otto Dyar
THIS picture is a ringing message of hope to all plain girls in
search of glamour. Once the lady above was named Jane
Peters, claimed Fort Wayne, Indiana, as "home" and worked for
Mack Sennett. Look at her now — exotic, glamorous, exciting
Carole Lombard. And it's all done with lines and a line
Hurrell
WHEN they first suggested that Joan Crawford play the role
of Flaemmchen in "Grand Hotel," Joan uttered a mild
"nix" on appearing in a film with Garbo, but when she saw the
size and possibilities of the part she rushed to the set without
another word. Here's Joan, the gorgeous, as the little steno
Elmer Fryer
EXPERTS say that Evalyn Knapp has the most beautiful
mouth in Hollywood — and quite unkissed. In spite of the
fact that she and handsome Don Cook are seen at all the local ice
cream parlors, she swears she is not in love and doesn't want to be.
But minds are changed overnight in Hollywood
INVITO
"I/OIL
v>oca-Cola has a wonderful
winning way. In it you find
the happy answer to thirst. A
taste thrill. A quick, wholesome
little lift when you need one.
Ihis drink just naturally
fits into a pause from work
or play. . . . Tastes good when
nothing else does. . . . Leaves
you cool and refreshed.
Only ^ i- Always the same high
quality.
THE COCA-COLA COMPANY
ATLANTA, GA.
THE
V
Jean Harlow
Howard Hughes Star
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Close-Ups and Long-Shots
I HAVE at least one reader who thinks
I am Jack the Giant Killer turned
yellow. She complains that I am
afraid to discuss the entrance of the
banking interests into the management
of motion pictures. The lady holds
several hundred shares of stock in one of
the major companies, purchased in the
gold rush of '29, and is apparently quite
disgusted with the whole motion picture
business in general and me in particular.
Somewhere she has read that these
banking laddies are hell bent on running
the business themselves, and naively in-
timates that they are wasting her money
lolling around Malibu Beach, basking in
the sunshine of beauteous blondes, and
rushing through the sound stages telling
Greta Garbo and Marlene Dietrich how
to act, Ernst Lubitsch and George Fitz-
maurice how to direct, and Rupert
Hughes and Fanny Hurst how to write.
She has even written to her congressman
telling him there should be a law.
OH, lady, lady, if you knew how
those Wall Street boys would love
to be back in their nice, peaceful offices,
getting reports of mounting profits and
toying with little thin strips of paper
with amusing figures on them.
IT reminds me of Montague Glass'
favorite story of the Jewish merchant
who had prospered in the white goods
business for thirty years when hard
times came upon that line. He had a
note coming due at the bank and he
called on the president to explain the
utter impossibility of meeting it.
The president explained that his
board of directors thought the bottom
had gone out of the white goods business,
that they knew competition was ruinous,
and they wanted to have nothing to do
with it. The note had to be met next
week — or else.
"All right, Mr. President, if that's the
way they feel about it," said the poor
old fellow as he turned sadly away, "but
just tell them that next week they are in
the white goods business."
OXE wise man of the cinema said re-
cently, "There is nothing the mat-
ter with the picture business that good
pictures won't cure."
That is a very clever statement which
is a half truth. The whole truth is much
more flattering to the business and that
is, that an inflated industry is trying
valiantly to adjust itself to a deflated
market. And that goes for steel, auto-
By
James
R.
Quirk
motive, copper, and almost every other
business.
A fat man who has lost a lot of weight
suddenly, always looks ridiculous in
his old clothes until he can have them
taken in.
BANKERS cannot make money un-
less their clients prosper, and when
you find one of those sad-faced boys
fooling around studios, factories, or sky-
scraper offices he is there because some
of his customers are pointing their
fingers and scowling at him just as you
are doing. But don't scowl at me, lady,
because, remembering the ides of
October, 1929, I will match you dirty
look for dirty look. But wasn't it great
while it lasted? There for a while I had
every intention of buying the little
woman an ermine coat.
THE picture business is on the up and
up. The public can't do without
pictures any more than it can without
telephones.
Just hold onto those stock certificates,
lady. We have been traveling along
the longest road without a turning in
recent times. Sooner or later there will
be a corner that really has something
behind it. And wouldn't it be wonder-
ful, lady, if it was a nice, cool glass of
legal beer?
NOW that I have done a hop, skip,
and a jump from financial misad-
ventures to beer, and, believe it or not,
that is not economic incoherency, I
want to tell you a story of darky phi-
losophy which has some bearing on our
national atmosphere.
A few years ago — before the year of
the big wind in Wall Street, of course —
I made a trip to Bermuda. One day the
venerable old negro who drove me about
the island in his victoria showed up at
the hotel pretty well ginned up.
"Now, George," I chided him, "here
you are, a man with a horse and carriage
of his own, a man with a respectable
family, and you show up here for busi-
ness like this. What do you drink for,
anyhow? "
"I dunno, Boss," he said, hanging his
head and turning his battered derby in
his hands, "I dunno. Things is bad at
home, and I guess I took that nip of gin
to get a change of thought."
WE don't have to use gin for our
troubles, but what this country
needs even more than good twenty-five
cent movies or five cent cigars is a
change of thought. I respectfully sub-
mit this to congress as my small con-
tribution of statesmanship. We cer-
tainly need something besides political
platforms deliberately designed to last
from nomination to election and then
crumble.
But then I never knew an architect
who was in politics.
THERE is no business in the world
that has become so inured to public
criticism as the picture business. When,
as happened recently, one of the most
famous mercantile houses in the world
dropped from millions of annual profit
to a five million dollar operating loss,
the newspapers recorded it briefly and
without editorial comment, on the
editorial pages where it belonged. But
the finances of motion picture com-
panies are news because the personal-
ities involved are news.
I TRAVEL back and forth between
Hollywood and New Vork so often —
strictly business, mind you — that some
of the transcontinental conductors are
old pals of mine.
On the long stretches through the
wheat fields, desert and mountains we
often sit by the hour, and, like folks in
"Alice in Wonderland," talk of many
things.
At twilight, when that orange and red
orb begins to slide so gracefully into the
horizon, bathing the landscape in a soul
soothing bath of changing colors, con-
genial humans shed thoughts of material
things and commune with one another.
THERE is one conductor especially
with whom I love to travel. A dozen
times I have arranged my trips for the
pleasure of his company on the three-
day trip.
He's Fred to me and I have been Jim
to him for ten years or more. Fred has
27
been with the same road since Ik- was
eighteen he's fifty now and besides
the famous train he conducts, his only
interests in life are his two daughters,
fourteen and sixteen, Alice and Maude.
LAST summer as the train was pass-
ing through an expanse of Arizona
desert he plopped himself on the seat
opposite.
There was a preoccupied look in his
eyes, l>ut he said nothing; just gazed
out the window at the dreary waste
of sand and mesquite, broken here and
there by a giant cactus.
Suddenly he turned to me. "I want
your advice about something," he said,
•'something you ought to know about
because you know pictures and you have
daughters."
I merely nodded and he went on.
• You know I am a widower and that I
have two daughters. But you don't
know how difficult it is for a father alone
to guide girls, to guide and help them
without danger of repressing their nor-
mal personal and mental development.
They are bright girls. Sometimes I
think they are brighter than the average,
and they are good girls.
"I have nothing in life but their
happiness.
WE live in Kansas City and I
don't believe that is any better
or any worse for girls than any other
city or town. But the girls are fond of
pictures and that is what is worrying
me.
"I haven't the heart to tell them
they cannot go to a picture show on the
Saturday I am on the road and that is
every second week.
"I want them to realize that I trust
them, but is there any way I can do that
and still guard them against seeing
the wrong sort of pictures? Can you
help me?
"They read your magazine and they
know we are friends. A word from you
and it will save me from appearing like
a distrusting, dictating father.''
"PT"'JIAT is not as difficult as it may
JLseem," I said. "Why don't you
make a game of it with them?"
" A game? " he asked. But he seemed
relieved at my assurance that there was
a way out of his problem.
"Yes,'' 1 said. "I have tried it and
it works. In the first place, there are
certain stars who never make a picture
they cannot see. George Arliss, Janet
Gaynor, Will Rogers, Harold Lloyd, and
now Tom Mix is coming back. Tell
them they can see any picture these fine
folks appear in."
"But the game part of it?" he inter-
jected impatiently. "That sounds in-
teresting."
THERE are guides to pictures," I
said. "My magazine is just one.
We always try to tell the character of
the picture. Often we say directly, 'Not
for Children.' But you cannot always
say it in those words. Some girls of
fourteen can safely see a picture that
others of seventeen should not see. It
depends on the girl. The Kansas City
Slar has one of the finest motion pic-
ture departments in the country. You
can trust that.
"That's where the game begins. Have
a palaver with your ? iris.
"Tell them you are concerned about
them seeing the right pictures when you
are away.
"Tell them you have confidence in their
intelligence in selecting the right ones
from Photoplay and the newspapers.
"Tell them they can see any picture
they choose, but that you would like to
have them save the reviews and point
out why they chose one picture and re-
jected another. "
"They'll love it," said Fred, "a mil-
lion thanks," and he went back to his
duties smiling and nodding his fine grey
head.
A FEW months ago I received a Ut-
ter from him.
"It worked like a charm," he wrote
me. " Xot onlv Alice and Maude but
all their little girl friends are now- mo-
tion picture critics. "
MISSH.B.STAPPEXBECK,ofSan
Francisco, California, wrote PHO-
TOPLAY a letter recently that is as good
an editorial as any editor could write.
It requires no comment. She says:
I'd like to raise a mighty roar of pro-
test against recent statements that
women are responsible for so much
''dirt'' in current pictures and plays.
That isn't so! I suppose the pro-
ducers think that all the empty seats
in theaters lately are due solely to the
depression. Xot at all. Another rea-
son is that many of us are tired of see-
ing one sexy drama after another.
I have a newspaper before me as I
write this, open to the theatrical page.
and here are some of the pictures ad-
vertised, and their "catch" lines:
"She Wanted a Millionaire "—She
gambled with life and love.
"Lovers Courageous" — On her
wedding night she ran to the arms of
her lover.
"Nice Women" — The daring ex-
pose of a "nice" girl.
Why go on? Nearly every picture
advertised is of the same type, and
we're getting pretty darned tired of it.
We want more comedy, more real ro-
mance and I'll wager that even a cos-
tume picture or two would not be
amiss.
Personally, I've lost interest in pic-
tures temporarily. I go to shows these
days to hear my favorite orchestra
leader and in the hope of seeing
Mickey Mouse, or Stan and Oliver.
THAT letter should have been given
the top prize in the Brickbats and
Bouquets department of letters from
readers, but it is so exceptionally good
and so well expressed that I am putting
it on these pages.
Yes, Miss Stappenbeck gets a check
for top prize, also.
I HAVE often wondered if Joe E.
Brown, the picture comic, was born
with a silver ladle in his mouth.
That Brand-New Personality
This issue of Photoplay is so full of
remarkable features that can help you in
looks, figure, clothes and even mind that
we call your attention to four special
articles designed for this purpose.
See "THE HOLLYWOOD BEAUTY
SHOP," and SYLVIA'S wonder-working
exercises, self-massage, and diets.
Read the article, "JUST WHAT MAKES
THEM CLICK," in which a famous psycho-
analyst tells you why the personalities of
two stars are so amazingly interesting, and
what you can learn from them.
See SEYMOUR'S selections of screen
styles for the month.
ALL IN THIS ISSUE OF
PHOTOPL AY
QS
What a columnist this
young lady would
make. She refused
$10,000 a week in
pictures, so PHOTO-
PLAY did not make her
an offer. Cal York is
simply crazy about her
What can Hollywood
do about a 24-year-old
beauty who tells them
their innermost
secrets; can teach the
showmen showman-
ship, and earns as
much as any of them?
Do
n t
Lie To HER
THE greatest personality sensatioii in Hollywood film
circles today, not excepting Garbo, Gable or even
Dressier is Gene Dennis, beautiful young mind reader
whose work is so amazing and baffling that she is filling
the great Warner Bros, theater in Hollywood.
The film stars are nocking to her performances and almost
breaking their necks to get her to give them private audiences.
She never breaks a confidence of a private audience, but
some of the answers that she has given in the theater have got
Hollywood reeling.
How does she do it? She says she doesn't know herself.
When she was nine years old, still a school girl in Kansas, she
developed an uncanny faculty for finding lost articles. When
she was fourteen, Dr. David P. Abbott, investigator for the
American Society for Psychical Research, stated after a test
that she was America's only true psychic. She resents the
implication that she is a clairvoyant, medium or fortune teller.
She is twenty-four years old and pretty enough to be a
motion picture star herself. In fact, companies have offered
her contracts, but she won't consider them.
Some of the things she says:
That Doug Fairbanks, Jr. loves Joan Crawford, but that
Joan is a woman who will never be happy. Joan and Chaplin,
she says, are two of the most psychic people she has ever met,
and psychics are not happy.
She says that Tallulah Bankhead always puts her worst
foot forward — her bad side — and that she has a very fine, sweet
side that she keeps well hidden.
She told Louis B. Mayer, head of the Metro Studios, things
about his mother which he says only he, himself, knew.
She told Einstein, the scientist, some of his own secret
family problems and he expressed himself as amazed. She says
that the Einsteins are simple, poor, German people and that
he lives in a daze.
She told a worldly-wise Hollywood staff writer of Photo-
play, who went to see her, such secret personal things that the
writer went out baffled.
She says that the depression that hangs over the country
has lifted.
• When Anita Loos visited the Warner Theater in Holly-
wood and asked who should play in "Red Headed Woman,"
the psychic answered that Joan Crawford should be the one to
play it, but a new star will be born through the part.
Before the depression most of the questions asked her were
about members of families and love problems. Now seventy-
five per cent of them are about business, and the chances of
holding or getting positions.
She never attempts to judge the stock market. "There's
nothing psychic about the stock market," she says. "It's just
crazy. And I wouldn't attempt to read a demented mind."
THE high moguls of the studios mean nothing to Gene
Dennis. A casting director of one of the biggest studios in
Hollywood tried for days to get in personal touch with her.
He had attended her performances for a week, sitting in
different parts of the house, studying her. He talked it over
with his chiefs and was willing to bet his reputation that she
would be a great picture star.
"Get her," said the moguls. The casting director, so used
to having the screen stars come to his office at the lift of his
finger, finally after a week's work, reached her fourth assistant
secretary. He told the secretary that the studio executives
would be very glad to see Miss Dennis at her convenience.
Without even consulting her employer, the fourth assistant
said, "Miss Dennis is too busy. She has no time." Imagine
anyone talking to Hollywood moguls like that!
The girl doesn't have to depend upon reading other people's
minds. She has a mind of her own. What a combination —
she is a better personal showman than Chevalier, more mys-
terious than Garbo, and as good looking as Marlene Dietrich!
It would seem that there isn't any such person, but there she
is, packing them in at that Hollywood theater every day.
Figure it out for yourself. The worldly-wise Photoplay
writer gives up.
A World
Fa mo us
Psycho-analyst
TELLS
STUDIOUSLY applied, it
is easy, in the present
state of mob hysteria, to
put over a bluff.
A little practice and
thought spent in applying
a bluff that will make
others believe that you
have plumbed great mys-
teries of life, will go far to-
day.
Gable gives the impression
of a "civilized brute." It
is that which
every woman.
challenges
He has less of the feminine
streak that is present in
every man than any other
screen male today.
HAVE Garbo and Gable really a mysterious "some-
thing" that other people haven't?
Or is it possible that you, yourself, have within you
the same things that these two have— the only differ-
ence being that they know how to use it, and you don't?
You've wondered that, haven't vou?
You've watched them on the screen, felt and envied them
their colossal and strange appeal.
You've witnessed the idolizing movie-public's reaction to
these two individuals.
And certainly you've wondered what are the ingredients of
these two personalities that make their possessors— just
ordinary, everyday mortals like yourself— two of the most
famous people in the world today.
Well, Science has an answer.
Science — the science of psycho-analysis, of human emotions
and reactions — can take those two creatures, Garbo and Gable,
apart, and tell you what makes them click. What's more, it
can tell you how that same something can be cultivated, to a
30
greater or lesser degree, by you, and the girl or boy who sits in
the seat next to you at the movies tonight.
Offhandedly, you dismiss the Garbo-Gable matter by saying
they have "personality." You might even say it's "It," or
"S. A." or any of the other patent phrases with which mortals
pass off a matter that's a little too deep.
But science can go much deeper than that, and analyze the very
ingredients that make up that "personality." So let's see what
one of the most famous psychiatrists and psycho-analysts of the
Pacific Coast can do about it —
Dr. Cecil Reynolds is his name. British by birth, he studied
the human mind and its ramifications abroad and in this
country. He has become a recognized leader in his field. He
has written many scientific treatises on human emotions and
reactions. He is among the famous psychiatrists who have
appeared as state witnesses in scores of court proceedings where
the strange mysteries of the human mentality needed clarifica-
tion. He is at present head of the department of psychiatry at
one of Los Angeles' foremost clinics, and further than that, he
enjoys the intimate friendship of many of filmland's most
famous.
Dr. Reynolds has studied Garbo and Gable on the screen.
He has studied the fan reaction to these two players. He has
tried to answer the questions that naturally arise — What makes
Garbo Garbo? — and what makes Gable Gable? — and how can
you, and you, be like them?
Here are his answers:
M
akes
em
Cli
c
k
By Carl Vonnell
JENNIE JONES can
artificially achieve
much of Garbo's allure,
if she is intelligent
enough. Learn com-
plete self-control of
facial features and
action.
Try it out before your
mirror, and see if it is
not true. At least you
will be entertained.
Garbo's walk is one of
her screen assets. But
it is natural.
Any woman can benefit
by studying Garbo's
voice, always quiet, re-
strained. It never rises
under excitement.
Garbo is different —
therefore mysterious.
GRETA GARBO
THE appeal which Garbo exerts from the screen is not a fluke.
It is real, because Garbo is, fundamentally, a great artist,
a great actress — comparable even to Bernhardt and Duse, in
her more inspired moments. Those who clamor that she is,
after all, "just a dumb Swede woman" are wrong.
In the first place, there is about her that sense of mystery
which is one of the most attention-compelling, admiration-
arousing characteristics any human can possess. With Garbo,
it is natural, due to the very fact that she is a great artist, and
all great artists "feel" more deeply than other people. Many
people cannot reach those depths of feeling. Vitality is essen-
tial to an artist even in moments of complete repose — that is,
psychic vitality. Yet this air of mystery 'can be cultivated —
by such as you, mind you! On your own desires, your own
aspirations, you can build a bluff that will make some people
believe you have fathomed the unfathomable mysteries of
life, and know all about it.
Garbo gives the immediate impression of a woman who has
suffered, and attained knowledge and strength by that suffer-
ing. Maybe she has, and, on the other hand, maybe she has
not. The fact remains that anyone can cultivate certain ex-
ternal appearances that will give the same effect. Jennie Jones
can artificially achieve much of Garbo's allure, if she is intelli-
gent enough.
If you must be a "poseur," the rules are these: First, learn a
complete self-control of expression and action. Studiously
avoid putting everything you are or feel in the show window.
Try to understand your own emotions, while concealing them.
See it in Garbo's face; watch, [ please turx to page 131 ]
31
T
h e
N
e w
Pi
ckf
air
Here it is — Pickfair, re-
modeled and redecorated
and rebuilt. Here Mary
and Dong entertain dukes
and duchesses as easily as
you have your Aunt Lu
over for Sunday dinner
Photo by Russell Ball
Here is the mistress of Pickfair ready to go downstairs and
nibble a caviar canape with her guests. The management
of little Mary's big home is as smooth as Connie Bennett's
satin evening gown. And Mary does it all herself. Butlers,
cooks, chauffeurs, maids, know that Mary's word is law.
So does Doug. While he was chasing a golf ball through
Europe, Mary had these new plans up her lace sleeve
32
PHOTOGRAPHS BY
STAGG
DIAGRAMS BY
GRANT
Here is your inside
peek into the lower
floor of Pickfair — the
plans from which the
magnificence to be
seen on these pages
grew. AI — new guest
quarters; A — drawing
room; B — terrace; C —
projection room; D —
butler's room ; E —
hallway; F — utility
room; G — servants'
diningroom ;H — kitch-
en; I — pantry; J —
breakfast room; K—
dining room ; L — ter-
race roof; M — library;
N — reception hall.
Don't get excited and
tell us that there are no
books in the library.
On the next page you
may see the actual
photograph which
shows you how many
volumes can be dis-
posed of in a tricky way
Directly above is the original Pickfair with a new coat of paint and a lot of other fancy improvements. Over on the other page
where the picture continues is the new guest house with the final touches being put on. It cost a fabulous amount of money, gave
hundreds of people work and is one of the most beautiful estates in Hollywood
.Listen Mere, Doug, With uuch A Home
The dining room is furnished in Eighteenth Century English
style. Turn back a page and compare this actual photograph
with the plan of the lower floor. The photographer stood in
front of the fireplace. The door at the left opens on to the
terrace. The door at the right goes into the library
m
Mary and Doug call this
the upper hall, but we al-
ways thought a hall was a
place to hang your hat and
park your umbrella. This
gorgeous room looks like
a first class front parlor to
us, except there isn't any
post card rack or family
album. Every piece of
furniture here was espe-
cially built, even the light-
ing fixtures. It is done in
pastel shades
84
Jrlow Can You v^avort Around r
oreign
arts
?
You can get some idea of the size of the drawing room
by looking at the piano in the left hand corner. It is a
baby grand and instead of filling the room, as pianos do
in most parlors, it is hardly noticeable. See how even
greater spaciousness has been accomplished by having
all the furniture hug the walls
When you climb the gorgeous
stairs you arrive at the second
story. Above are the plans: A —
west room of Doug's suite; B —
Doug's Chinese room; C — bath-
room; D — bathroom; E — hall
and sunroom; F — linen room;
G — Gwynne's room (Gwynne is
Lottie's daughter whom Mary
recently adopted); H — hall; I —
Mary's bathroom; J — Mary's
bedroom; K — sleeping porch.
And you could put five or six city
apartments in Mary's suite alone
and have enough left over for a
college lecture hall. Mary's
closet is as big as the average
bedroom. It must be to hold all
her clothes
The doors in the library are self-closing, devised by Mary so when Doug goes dash-
ing through they do not stand ajar. There are two sets of book shelves, one on
hinges, the other just behind. The room is Eighteenth Century French
Mr. Bob Montgomery, that scene belongs to Irene
Purcell. You give it right back to her
THIS woman is wanted for
grand larceny!
Stop that man — he's a
thief!
That sweet little child — he has
learned to steal!
This is the charge against a
score of Hollywood actors and
actresses. Yet none of them can
be arrested.
The crime of which they are
accused is stealing, certainly,
but the stolen object is a scene
and nothing in the constitution
can cover the offense.
Dozens of times you've read
reviews — including those in
Photoplay — which stated
"Little So-and-So stole the pic-
ture from the star."
Cliff Edwards just could not resist trying to rob
these two tough birds in "Hell Divers"
36
Evelyn Brent and June Clyde in "The Mad
Parade." Read the story of the robbery
It is not by chance that a
scene is stolen. Carefully worked
out tricks that troupers learn
during their fight for the screen
survival of the fittest are neces-
sary. And you've seen grand
larceny performed right before
your nose as dramas flash upon
the silver sheet. For the most
part you do not recognize the
culprit at work. All you know
is that your eye follows one per-
son in a group and not the others.
If the person whose movements
you watch is not the one who
should be carrying the dramatic
situation at that particular
moment — then the scene has
been stolen. You don't stop to
analyze it. All you know is that
you liked that person and want
to see him again. And that is
the very attitude he was working to accomplish.
A second story man has an amazing array of tools (and if you
don't know what they are, you've forgotten your gangster
pictures), but the studio thief has only his face, his hands and a
few extraneous props. Once you catch on, you can watch for
the tricks in the next picture you see — and catch the thief.
SOMEONE said to me not long ago that talkies have prac-
tically done away with the possibilities of scene stealing.
It is true that studios don't like actor tricks, because they take
up valuable time. But as long as there is a drop of real actor
blood in Hollywood, and as long as the name of Barrymore
inspires a bowed head and a genuflection, there'll be scene
stealing and don't let anybody kid you about it.
Marie Dressier wins the slightly used set of old, abandoned
theme songs for being the Chief High Goddess of Scene Steal-
ing. Didn't she almost (and some say, sotto voce, entirely) walk
away with "Anna Christie," a Garbo picture?
Remember Marie in "Anna Christie"' — always plucking at
By Katherine Albert
Photoplay here-
by charges a score
of screen stars
with grand lar-
ceny and hands
them over to —
the audience for
sentence, with a
plea for mercy
A famous team of screen burglars. Polly is trying to
give Marie the works in "Politics"
A classic battle of "backing up." Lowe and Mc-
Laglen in "The Cock-Eyed World"
he sleeve of that old sweater?
'hat was a trick. Of course, it
as in character, it gave you an
xcellent picture of the old wharf
it, but it attracted your eye to
er rather than to the star,
'ou've seen her rolling and re-
siling a paper in her hand,
ambling with a shawl around
er shoulders, pulling at the
eckline of her dress. It's grand
irceny, I tell you. A movement
itches the eye. Marie moves —
ut always in character, you
nderstand. Ergo, you watch
larie instead of the other play-
rs and the scene is stolen before
ou can say Anna May Wong.
If you're not too overcome with
sars or laughter when you see
larie in a picture, watch for
hese tricks.
' You can catch her at them. She does them every time.
Now, Polly Moran is a scene stealer of the old Sennet t
niversity, so when she and Marie play together the directors
limp up and down on their hats or else they get suddenly taken
,-ith laughter and forget to jump. Polly uses that expression
ou know so well — the one where she twists up her mouth
laking it look as if she has just lunched off green persimmons.
n trouper parlance it is called "mugging." You'll catch Polly
t it plenty of times. Remember " Politics"? Well, she had to
io something to keep up with Marie.
" IONEL B ARRYMORE is a past master at off-stage trickery.
-'The Barrymore boys learned about scene stealing at their
aother's knee. She fed them scene stealers' cream in their cereal.
Lionel, when he is not actually working, pretends to be half
.sleep. He sits in his chair, hands folded limp in his lap, eyes
lalf shut, body relaxed. Seeing him, you would think, "Now
here sits a kindly old gentleman who wouldn't steal a scene
rom a kitten." But when the time comes he rushes before the
camera with such bewildering
vitality that the rest of the cast
stand back aghast — just looking
at him. It is the vivid contrast
he has planned. In "The Yel-
low Ticket" Elissa Landi felt the
power of this method. And so
did brother Jack in "Arsene
Lupin."
But brother Jack knows a few
tricks himself. You've seen him
pull the staring gag. While a
scene is in progress, he gazes so
fixedly at the actor with whom
he is working that the fellow be-
comes so confused in lines and
business he doesn't know whether
he is Louis B. Mayer or the prop
boy. When Jack and Lowell
[ PLEASE TURN TO PAGE 113 ]
The greatest screen pick-pocket exhibition of all time.
Dressier lifting Garbo's scene in "Anna Christie"
37
\_Adil 1
Wide World
Well, if it isn't that little Mrs. Thalberg with her hair all
done up in a braid. While Garbo was busy avoiding the
Hollywood opening of "Mata Hari," Norma Shearer
arrived and started a new fad — just like that! All you
have to do, girls, is to comb back your hair, make two
tight pigtails and wrap them around your head, or you can
pin some on. The fancy name for this coiffure is the
"coronet." How do you like it?
It's always "Drink More Coffee Week" when Frank Fay
is in town. And he's very particular about his Java.
Seems that nobody can give it the proper flavor but Mrs.
Fay, so when he goes traveling he takes one of his best
coffee pots (he has a big collection; along. And he in-
cludes Mrs. Fay so she can do the brewing. The little
lady is also handy to have around as an actress. Her
professional name is Barbara Stanwyck
REMEMBER how the love scenes in "To-
morrow and Tomorrow" and "Way-
ward" failed to stir you much? How
hard it was to realize that Paul Lukas and Dick
Arlen were really the impetuous lovers the
stories seemed to demand?
There was a reason, a perfectly logical one.
Paul Lukas and Ruth Chatterton weren't
even on speaking terms during the whole film-
ing of their picture. They talked to each other
and looked at each other only when their
scenes demanded it.
And. when "Wayward" was being filmed —
oh boy, oh boy, oh boy! Xancy Carroll was
late on the very day the most ardent love
scene was taken, and Dick Arlen was already
putty much fed up on what he called her
"temperament."
They're good actors and actresses, all of
them — but it would take the boy-and-girl won-
ders of the world to put love scenes across un-
der those conditions and make them seem real.
The old story about the stars who were
38
rushed into an ardent love scene and intro-
duced afterwards doesn't seem so far-fetched
after all, does it?
XTORMA TALMADGE finally ups and ad-
mits what we have known for five years —
that she and her genial husband, Joe Schenck,
head of United Artists, have agreed on a di-
vorce.
Here is one of those cases where neither
party seems to be to blame. And it's really
true that they are great friends, as they have
both been saying for years, but they just don't
fit in married harness.
Norma is in France to get the divorce, and
hard-working, good-hearted Joe is plugging
away at his studio duties. She has denied
time and time again to the press that she will
marry Gilbert Roland and now, for the first
time, that seems to be true, because they are
not seen around together as much as they used
to be.
One of the real troubles with Xorma is that
she hasn't been working, and, having worked
hard all her life, leisure didn't bring her happi-
ness. As one of her closest friends once said,
'"What Norma needs is a good picture. That's
the only thing that will bring her any happi-
ness."
13 ARBARA STANWYCK is one of the mys-
teries of Hollywood — more mysterious in
her way than Garbo. It's a strange case.
Now here is a girl who has made a great success,
whose name spells box office whenever it is
flaunted on a theater marquee, who is pretty,
attractive, charming. Yet she is not seen
around at the social centers where film celebs
gather, nor has she many close friends in the
industry.
The reason is that Barbara just doesn't like
Hollywood. It is true that she has a chip on
her shoulder because she feels that Frank Fay,
her husband whom she loves more than fame,
got a raw deal from the cinema city. But it is
more than that. She just doesn't like the
The Monthly Broadcast
of
Hollywood
Goinsfs-On/
Keystone
The very smug, very self-satisfied young lady in the
center of this happy family group has just been chris-
tened— and she bears a royal name. Barbara Bebe Lyon
was pretty bored with the whole idea and yawned in the
faces of the Hollywood celebs present. Pshaw! — she
can't be bothered with stars, with two of them around the
house all the time. They are, of course, Papa Ben Lyon
and Mama Bebe Daniels, and very proud, too
Acme
While Garbo is walking around alone in the rain, dressed
in a tweed coat and a slouch hat, Marlene Dietrich gets
herself all togged out like this and attends those swanky
Hollywood affairs. And please note that handkerchief.
If Marlene dropped it, it would be pounced upon by avid
fans. It is big as a table napkin and embroidered with
the star's name in each of the big dots. A cute idea that
the girls will copy
town, nor the people, nor the climate, nor
anything about it. Maybe you don't like
olives — well, Barbara doesn't like Hollywood.
As a result she is called temperamental and
hard to manage. But that's only because she
is indifferent.
She would rather live happily and quietly
with her adored Frank Fay than be the big-
gest star in the business.
T\ 7"E were sitting around Henry's the other
day and someone said, "What's the mat-
ter with Nancy Carroll, anyhow? That girl
started out to be one of the biggest stars. She
seemed to have everything. She had a beau-
tiful face, fine figure, and, boy, the appeal
that girl put over on the screen."
"You can't blame it on Hollywood, any-
way," spoke up a press-agent. "She didn't
make a hit with the boys who worked with her
in the studio, and they say you never can tell
which way she's going to jump. One day she's
as nice as pie to the studio workers and the
next day she's as aloof as a zeppelin. They
just can't figure that girl out."
An actor who had worked with her passed
by our table. We yanked him into a seat and
put it up to him. "Well," he said, "I always
try to be a gentleman and I'm not a gossip,
but deliver me from working with that tem-
peramental baby again.
"But," he continued, "she has as many real
personal friends as anyone in town. She has
a lot of ability and probably she will get on
to herself. And remember that Bernhardt
and Duse were very temperamental."
r^\ID you know that Harold Lloyd
"^*nas a private telephone exchange
in his home and employs a day and
night operator? There are sixteen
different lines through the house.
pSTELLE TAYLOR'S neck had a vertebra
out of place following her automobile acci-
dent. To get it back it was necessary for her
to hang by the neck. The doctors had to
hear the click when it went back — and if they
couldn't hear it, Estelle had to be in condition
to know it was really accomplished. To feci
the click.
If she took an anaesthetic, they might not
know whether the work had been accom-
plished or not.
Estelle hung for forty-five minutes with-
out one drop of anything to still the pain. It
was so excruciating that several times she
started to faint.
They threw wet sponges on her — she stiff-
ened and went on suffering.
Nothing more heroic has been done by a
patient in Los Angeles, the physicians tell us.
The click came — and Estelle is lying in a cast.
Just how long she will be there, no one
knows.
But she is assured of complete recovery
eventually.
Without this bravery she could not have
recovered.
HpIIE Gables aren't making any statements
•*- at the time we go to press and neither is
Metro-Goldwyn-Mayer.but a divorce between
(lark and his wife is a daily expectation. Per-
haps it will he one of these one-day affairs
granted in Mexico.
CLirk and his wife appeared at the Brown
Derby on the evening after the first rumors
were printed to prose it ain't SO.
Hut no one believed the advertisement.
Not a soul.
"pRESTIGE," Ann Harding's last picture, is
"""about the last straw for Ann. She's a hit
fed up with the entire business. \\ ill he glad
when her contract is up in 1933 and she can
either retire or return to the stage. She doesn't
mind making dickers when they're good hut
she's about come to the conclusion that they're
not often good!
Ann won't have to worry. She's got that
mansion on the top of the hill all paid for and
a big pile tucked away besides. Remember
husband Harry Bannister has been dragging
in $1000 weekly in addition to Ann's S125.000
a picture. They've protected the kiddie with
that combined salary.
Of course, the studio paid Harry to keep
Ann, but money is money and it all goes into
the family coffers no matter how the checks
are written.
RONNIE BENNETT'S making an honest
^^effort to know the press better and to have
them know her as she is.
Connie's always shunned publicity a bit,
you know — even been indiJJerent to the point
of being called high-hat.
Some things that have been written about
her she has termed "persecution." She's sure
if the writers knew her they'd understand she's
really a regular guy.
So she's inviting editors etc. to meet her.
They'll like her; they can't help it. But
they'll make her front page copy just the same.
Connie can't help that.
She's born that way just the same as
Gloria Swanson, Greta Garbo, Clara Bow and
other headiners.
For instance, that story that the Marquis
signed a release, relinquishing any rights to
their community property. It's not true, but
even Photoplay, which tries so hard to be
accurate, reported it. We're sorry, Henry. Our
apologies, Connie.
"pEW of the stars send out pictures now un-
lessrequestsareaccompaniedby 25cents. Of
course, they still mail the small photographs
free, but Constance Bennett is almost the only
star now that still sends a lovely 8x10 photo-
graph to all who write for it. This costs her
many dollars each month.
All of which reminds us of the money some
of them formerly spent on pictures for fans.
At one time there was a standing order with a
large photographic gallery fur ten thousand
daily of Mary Pickford.
No other star has ever remotely approached
this, though Paramount formerly sent out 30,-
Wide World
See here, Charles Bickford, fumbling chiffons just isn't up your alley. It
was okay when you opened a garage to make a little pin money. And
nobody minded when you bought whaling ships — but a lingerie shop!
Whoops, my dear! And you're the guy who loves to shock little girls from
the country by telling them what you think of producers in your own ex-
pressive language. Going to wait on customers yourself, Charlie?
40
We can't fool you and we're not
going to try. If you don't recog-
nize the lady above you should be
sent to bed without seeing a
movie. Certainly, it's Garbo —
remember? — in the first picture
she made in this country, Ibanez'
"The Torrent." The clothes don't
seem so old-fashioned, do they?
000 and 40,000, respectively, of Clara Bow
and Buddy Rogers each month.
A CONVERSATION that has been re-
peated to us as being held between Greta
Garbo and Bob Montgomery:
"How would you like to be on the stage,
Gretas'
"I would like it if it was a good play but I
would never rehearse."'
Greta's refusal to rehearse for pictures is a
well known fact, of course.
"But how would you get around it?-' asked
Bob, whose experience on the stage has taught
him the importance of rehearsals since cues
can only be learned by practice.
"Everyone else would rehearse. I would
learn my part at home and perhaps the last
day or two I would come and fit myself in. "
And she'd probably do it. She's done every-
thing else that people said couldn't be done.
!
International
Colleen Moore, just before she
took the plunge — the matrimonial
plunge. But she was all dressed
up when she promised to love,
honor, etc., Alfred Scott, a broker.
When she divorced John McCor-
mick she and Al were seen places,
but it took a long time to make up
her mind. Ah there, Mrs. Scott!
T\ 7HICH reminds us that we bet we know
the reason Garbo has refused rehearsals.
Jack Gilbert always refused them in silents. He
couldn't do the same thing twice, well. Too
impulsive and too temperamental. Many are
the scenes he caused at Metro when directors
tried to insist upon practice performances!
Jack taught Greta more than anyone else about
pictures.
During all of her early successes he guided
her every step. He put his entire heart and
soul and talent into the first try.
So does Greta.
"AMABEL is a mighty fine little girl," says
Tom Mix about his bride. "She was
born on a farm and knows how to darn sox,
sew on buttons, churn, milk the cows — knows
her ropes. "
Victoria Mix, recently divorced wife of Tom,
was a cow-girl when he met her.
We're wishing Tom and the bride good
luck. It cost Tom three quarters of a million
cash when Victoria divorced him.
Now, he's broke, so money can't be the
main issue.
T'NON'T think you're the only ones who ad-
•^mire the stars' clothes and want to copy
them. Remember the stunning black tailored
suit that Photoplay showed you last month,
worn by Claudette Colbert in "The Wiser
Sex"? The suit had a straight, plain skirt and
diagonal-striped, hip-length jacket, and was
very, very smart. Well, we'll tell you a little
secret about it.
Joan Crawford wears that suit off-screen —
orders it in half a dozen different materials
and colors.
It's almost a day-time uniform. Claudette
and Joan are friends. Claudette raved about
the suit.
So Joan said, "Here, take one and have it
copied. "
And Claudette not only copied the suit, but
the crepe blouse with attached Ascot scarf that
Joan wears with it. She even clasps the scarf
at the throat with the same sort of jeweled pin
Joan uses.
'"THE "Grand Hotel" cast, with its list of
prominent stars, was costing M-G-M plenty
of the "well known but little seen" mazuma.
So, in order to impress the importance of sav-
ing time and money, Director Edmund Gould-
ing spoke to each star separately.
To John Barrymore he said, "Every min-
ute counts. Please be prompt and on the job
at all times, as it's costing the company $980
a minute to make this, since you joined the
cast. "
John merely sniffed just a slight Barry-
more sniff.
That afternoon Director Goulding walked
off the set.
"Hey," Barrymore called, "where you go-
ing?"
"To telephone," the surprised director an-
swered.
"And that," Barrymore smiled, "will just
cost us $4500.
A NOTHER little gal gone broke. Remem-
ber Louise Brooks with the two swell legs
and a brunette Dutch bob?
Louise, who had the promise of being a
screen sensation not long ago, ups and divorces
Eddie Sutherland, director, takes herself over
to Germany to make pictures and then comes
back broke.
Louise has gone bankrupt in New York,
listing her liabilities at $11,969.
Assets — zero.
But, just the same, when a magnificent liner
recently pulled out from New York harbor,
Havana and good time bound, "Brooksie" was
among those present.
Now what we likewise penniless lads and
lassies want to know is,
How do they do it?
[ PLEASE TURN TO PAGE 84]
Wide
Cut yourself a piece of cake, Harold, old boy. But young Lloyd Jr. has
trouper blood in his veins. "Hey, wait a minute," he says, "until I give
the cameraman my best expression." The son and heir to the Harold
Lloyd-Mildred Davis fortune celebrated his first birthday by tipping the
scales at twenty pounds. His first home was an incubator, you remember,
and he weighed less than three pounds at birth. Now look!
u
Remember the
vivid, dynamic Ruth
Chatterton of "Sins
of the Fathers"?
left . Do you re-
member the Ruth
who really felt and
actually lived her
roles?
Now contemplate
the Ruth of "To-
morrow and To-
morrow." Audi-
ences snickered at
her dramatic
scenes. Reason?
She is now using
only technique and
tricks
$750,000
By Ruth Bie
ry
an
d D
anger
TWO years ago Ruth Chatterton was the "first lady of
the screen." Today, she faces the possibility of being a
"has been."
A strange situation.
She is now beginning her new Warner Bros, contract guar-
anteeing her three-quarters of a million dollars in the next two
years — the highest paid actress now on the screen for any
definite period. Vet her future is a question-mark.
When Warner Bros, won Ruth from Paramount, she was the
greatest money-maker in the business. Paramount was frantic,
so frantic that they made every effort to buy her back.
Paramount offered her a new contract at a huge figure. It
did not give her full control of her stories and production. Ruth
turned it down. She must have the same authority as well as
the same money that Warners had promised.
Which reminds me of the day Gloria Swanson refused S20,000
a week from Paramount for identically the same reason; went
to United Artists where she could direct her own unit — and
almost Hopped herself out of pictures.
I have no fear of Ruth's flunking in an executive capacity.
But I fear for Ruth as an actress. I fear that the world
has already discovered that she has resorted to the technique.
the tricks she has learned during her long years of experience.
I am sincerely frightened that the public knows that Ruth has
substituted that for emotional acting.
No actress can last when she reaches the point where she uses
nure technique. Audiences detect it immediately.
I am one of her most ardent admirers and yet I must confess
that "The Magnificent Lie," "Once A Lady" and ".Tomorrow
and Tomorrow" left me cold. When I should have cried — I
smiled. When I should have smiled— I wanted to cry. Cry for
the woman who could no longer stir me.
I remembered the Ruth Chatterton of "Sins of the lathers,"
; '
8
" Madame X" and "Sarah and Son."- She was the rage of the
critics; the pet of the public. Her pictures grossed millions.
Every one of those pictures rated a place among Photoplay's
best pictures of the month.
SHE was doing a scene for "Sarah and Son." One of the most
dramatic of that intensely dramatic production. She was
crying over the sick child. Tears were pouring down her
cheeks. Dorothy Arzner, her director, called "cut." Ruth's
mouth-muscles commenced moving. She was chewing
gum.
Directors have told at one time or another of her ability to
finish a most dramatic scene, walk to a couch and fall instantly
asleep. Doesn't that tell something? I can't imagine Greta
Garbo falling asleep before or after a dramatic scene. Greta
paces outside of the stage to control the nervousness which
possesses her — the intense anxiety and fear for her ability to
put her work over. Marie Dressier, talking, talking, to cover
her agitation.
The other day I watched Ruth shoot her first scene with her
new leading man, George Brent, for "The Rich Are Always
With Us." He was trembling. He knocked over the salt shaker
on the night club table; tried to catch the eye of the make-up
man (when Ruth wasn't looking) to check on his make-up;
shook so you could see the table and chairs vibrate.
A very wise hand at the game of acting was standing beside
me. "That boy has something." he said slowly. "If he were
too sure of himself on this first shot, I'd think he was no good.
But he's nervous. That's emotion. He'll give a great per-
formance."
Knowing Ruth as I do, I think she was probably nervous also.
She has a terrific inferiority complex way down beneath that
smooth, drawing-room exterior. [ please turn to page 128 ]
Elmer Fryer
A COUPLE of years ago Photoplay called Ruth Chatterton "The
First Lady of the Screen." She was the pet of the critics; the rage of
the public; adored by thousands. Now she has a contract which gives her
final word on stories and production. She rules the set, but she is slipping
with her fans. On the opposite page Ruth Biery tells you all about it
Otto Dyar
ALL right, you music lovers and you lovers of whimsical light comedy —
here's the answer to your prayers. It won't be long until you'll be
hearing Jeanette MacDonald and Maurice Chevalier warbling together
again. Look out for the film. It's called "One Hour With You." It's
splendid and it is reviewed in this issue of Photoplay
Eugene Robert Richee
IN one of Sylvia Sidney's blue-green eyes there is a golden-brown fleck, so
maybe that's why she gets the first look at all those big dramatic roles.
The camera caught her resting on her way to stardom. But not for long. Just
the minute she finishes playing the part Betty Compson created in "The
Miracle Man," she rushes into "Jerry and Joan" with Fred March
' I VALLULAH, the glamorous, the sophisticated! Isn't it amazing that the
-!• still camera seems to bring out more of her personality than the motion
picture? Here is Tallulah as she is. Why doesn't some of her fascination
come through on the screen? Tallulah believes it's because of poor pictures,
and once at a preview — but read all about that on the opposite page
! ! Tallulah ! !
A remarkable personality that
so far has failed to register on
the screen
LUPE VELEZ, Greta Garbo and Clara Bow have held the
winning cards as headline showmen in Hollywood for
many a day. But now they've got competition.
Tallulah is entitled to a little more time.
For example, she's been to just one Hollywood preview — ■
"The Reckless Age." She snatched twelve of the preview
cards which are handed to the public at the door, soliciting
their criticisms of the picture. These cards go directly to
Ben Schulberg, production manager at Paramount. She
filled out each of the even dozen and mailed it to the man who
controls her contract, the choice of her pictures, etc. Here are
samples chosen at random from her comments:
"Annette Kellerman was superb. Give Tallulah Bankhead
a good picture."
"Bring back Roscoe Arbuckle! Give Tallulah Bankhead a
good picture."
"Did you know that lemon juice removes tobacco stains?
Give Tallulah Bankhead a good picture."
She signed each of the twelve in her own, bold handwriting —
Tallulah Bankhead. No camouflaging. She was using the
most startling method she could discover to insist that she was
entitled to a good picture. She has been thoroughly disgusted,
with her first three American vehicles and says so — despite the
fact it is considered bad politics in Hollywood to rap either
your own pictures or productions from your own studio.
But Tallulah cared nothing about politics. She'll get her
own way by her own methods here, just as she did in England,
New York and by-way places. She summarizes Hollywood in
one sentence: "A place where people would like to like other
people but are afraid to: hypocrisy!"
Take the opening of "Mata Hari." She accepted an invita-
tion to a dinner party preceding it and agreed to return to
join in the fun afterwards. But she flatly refused to attend the
premiere itself because of a crowd complex. She must be in
small groups —
This complex must be Hollywood-developed. For Miss
Bankhead in England used to stop and chat with the huge
throngs which collected around the dressing-room door to pay
her homage. And she did the night clubs, social gatherings,
charity affairs, etc. Of course, she explains that by saying
it was necessary to get herself established. She had to be seen
to be talked about; she had to be talked about to be famous.
But the moment she became so famous that they talked about
her anyway — she stopped going to public places.
WELL, that may be true. But we'll wager you a war with
Japan against a depression that the reason Tallulah didn't
want to go to that opening was because the fans in Hollywood
wouldn't know her. While all the rest of the audience was
being welcomed by great cheers — she would have slipped in
unacclaimed. Tallulah, like Lupe, must be the center of
attraction. At every party she attends she keeps up an un-
interrupted stream of conversation. Usually about herself.
Her escapades in England; her opinion of everything in the
world — both holy and unholy.
Incidentally, her instincts about not being recognized were
correct. For she did go to the opening. They called her a
poor sport at the dinner, surprised her by saying they had
secured her a ticket even though she had refused" the invitation.
She had to counteract that poor sport in-
ference. Good showmen always pride D _
themselves on good sportsmanship. So Jj Y it It t
Recognize this
woman? Take
another look. Well,
if it isn't the intri-
guing Tallulah
Bankhead, as she
appeared in a silent
film made in 1918
she cut the cards to see whether she should go or not go. She
lost. She went — and there was scarcely a ripple. The hun-
dreds who trampled each other around the entrance of the
theater didn't know her.
Soon after her arrival, she met Polly Moran. Now, Polly
is always a sensation. She's a great running mate for anyone
who wishes to get talked about in Hollywood. She's been
adopted before by newcomers as a wise-cracking foil to help
them get their names on the tips-of-Hollywood-tongues. Don't
misunderstand me. Tallulah really likes Polly. She couldn't
help it — but neither could she find a better audience or quip-
line-feeder. When Edmund Goulding, an old friend of Tallu-
lah, invited her to a party she asked if she might bring Polly.
Of course, when Tallulah plans a party, herself, she usually
calls her guests at midnight to invite them. To get someone
out of bed makes the invitation just that much more impressive.
AND she's always impressive. She only goes where she can
be impressive. "I haven't been any place yet where I have
seen Hollywood trying to be ladies and gentlemen. Who cares
or wants to be either? If I were well-behaved, I'd die of bore-
dom. I'm not patronizing it. Don't give that impression.
I'm just being natural. They have lovely places; charming
houses. But — I must be myself. Otherwise, why live? I
brought two friends from England, a woman and her brother.
I have my secretary, the best friend in the world. In other
words, I have my bridge fourth in my own house so I am never
bored. I don't have to go out with other people."
Of course she was always front page copy in England.
The report of her engagement pushed international news to
inside columns. She explains that engagement as probably
no other woman in the world would explain such a situation.
"He gave me a diamond necklace. No other man had ever
done it. I felt the responsibility and thought I must get*
engaged to him.
"He was awfully attractive but absurd. He just- didn't
make any sense."
Wise girl to break it. Two people who don't make sense
might not find the heaven promised by matrimonial proponents.
But she believes in love.
"I'm miserable if I'm not in love and, of course, I'm miserable
if I am," she says. "But I can stand any misery except bore-
dom and not to be in love is the greatest bore on earth."
She admits she came into pictures because she could make
four times as much money as on the stage. She wants to save
some money. Never has. Has no jewels,
/ r> • no great possessions to show she's been the
IX Jtf I 6 r Y theatrical rage [please turn to page 125]
The Greatest Battle
in the Long History
of Films !
48
Photo by Stagg
/^\UR photographer's inspired picture
\^/of one of the greatest motion picture
sets ever erected, floodlighting with
its sun-arcs the mightiest array of stars
ever corralled in Hollywood's history!
It is the lobby scene for "Grand Hotel,"
the Vicki Baum stage hit now being filmed
by Metro-Goldwyn-Mayer under the
direction of Edmund Goulding, the sweat-
shirted gent with hands in pockets, seen
at left center. And what stars of stars are
laboring in the cast! Many stars — many
temperaments — ■ many ensuing rows.
A lion-tamer is a mere governess be-
side Irving Thalberg, the producing genius.
Across the bottom, left to right, are
Wallace Beery, Tully Marshall, Ferdi-
nand Gottschalk, Garbo, Lewis Stone and
Lionel Barrymore. Just above them, cen-
ter, are Joan Crawford and John Barry-
more. See if you can find such lights as
Jean Hersholt and Frank Conroy.
What a set — and what a company! If
this great picture, with its milling mass of
super-stars, its talents and temperaments,
is finished without a murder or two, it will
be a triumph for the bosses.
49
SelectYour Pictures and You Won't
^ THE LOST SQUADRON— Radio Pictures
"TT TINGS" started it. We've had lots of aviation
W pictures since. But here's one that's different and
will entertain any audience from the age of eight to eighty.
Richard Dix is captain of a trio of flyers who, at the
termination of the war, make the Three Musketeer pledge.
They eventually find themselves stunt flyers in a motion
picture being made by an unscrupulous director, played by
Eric Von Stroheim, who'll go to any extreme for realism.
Dix comes through with his best performance since " Cimar-
ron." Dorothy Jordan and Joel McCrea furnish the romance
delightfully; Hugh Herbert the laughs. Mary Astor has
little to do but looks lovely as ever. Robert Armstrong is
good as the third flyer. The photography is excellent, the
direction splendid.
*
TARZAN, THE APE MAN—M-G-M
THRILLS. Noise. Suspense. Mix well with plenty of
action against an African background and what have
we? Tarzan, the Ape Man. This glorified fairy tale, taken
with the tongue in the cheek, packs a wallop that lays out
old Trader Horn himself.
Two English hunters in search of the burial ground of the
elephants find it and plenty besides. Maureen O'Sullivan,
daughter of one of the hunters, is captured by Tarzan, a wild
African white man, played convincingly by Johnny Weis-
muller. Tarzan returns Maureen to her father, only to res-
cue them from a band of aggravating dwarfs. Neil Hamil-
ton, C. Aubrey Smith and Johnny's swimming are grand.
Director Van Dyke has given us another thrill.
50
The
Shad
ow
A Review of the New Pictures
*
ONE HOUR WITH YOU— Paramount
IT has Chevaber. Oh, how it has Chevalier — this gay,
naughty, sizzling little farce. And, too, it has Jeanette
MacDonald, and behind it all, is Lubitsch. Ernst himself.
Need more be said?
It races and patters along its risque, saucy way to snappy,
lingering music by Oscar Straus and Richard Whiting. And
every once in a while, Maurice steps right out of the picture,
walks down front, and takes us into his confidence.
Maurice, a doctor (oh doctor, my operation), married to
Jeanette, is happy and peaceful until along comes his wife's
friend Mitzi. Played too Mitzyish for words by Genevieve
Tobin. Mitzi sets out to get Doctor Maurice. And poor
Maurice hesitates, weakens, and alas, succumbs.
But Mitzi' s husband, played by Roland Young, and how he
plays it, sets out to divorce Mitzi and names the philander-
ing Chevalier as co-respondent.
Charlie Ruggles, as a would-be lover, is a howl.
"One Hour With You," as the musical version of "The
Marriage Circle," is even better than the silent version.
George Cukor, the director, with Lubitsch as supervisor,
turned out a picture a bit naughty, but oh, so "nize. "
Have to Complain About the Bad Ones
The Best Pictures of the Month
ONE HOUR WITH YOU LADY WITH A PAST
THE LOST SQUADRON TARZAN, THE APE MAN
SHANGHAI EXPRESS THE PASSIONATE PLUMBER
DISORDERLY CONDUCT ALIAS THE DOCTOR
THE IMPATIENT MAIDEN
The Best Performances of the Month
Maurice Chevalier in "One Hour With You"
Jeanette MacDonald in "One Hour With You"
Genevieve Tobin in "One Hour With You"
Ben Lyon in "Lady With a Past"
Richard Dix in "The Lost Squadron"
Buster Keaton in "The Passionate Plumber"
Jimmy Durante in "The Passionate Plumber"
Irene Purcell in "The Passionate Plumber"
Spencer Tracy in "Disorderly Conduct"
Richard Barthelmess in "Alias the Doctor"
Fredric March in "Strangers in Love"
Casts of all photoplays reviewed will be found on page 135
LADY WITH A PAST—RKO-Pathe
A SPARKLING, frothy, gay, young picture that skips
along at a happy pace and has a grand time on the way.
This story presents no heavy "drammer" or complicated sex
problems, but is a cozy, understandable little yarn.
Constance Bennett, as a wealthy society miss with no
small talk and hence no beaus, finds herself alone in Paris,
all dressed up and no place to go. A chance meeting with a
penniless young American, who takes on the job of a glorified
gigolo turns the trick and our little wallflower blossoms forth
a night-blooming orchid. My, oh my, what an orchid!
Even in all her gorgeous finery there's something warm
and intimate about Connie in this one.
Ben Lyon, as the happy-go-lucky and irresponsible
American youth stranded in Paris, just about picks up the
whole picture and marches blithely off. And where, one
wonders, has this Ben Lyon been all our lives?
David Manners as Connie's beau seems a bit subdued and
even mild after the brightness of Ben and Connie.
The dialogue is easy, natural, and spills all over with
laughs. There is an air of spontaneity about the whole
thing that simply sweeps it into first place.
*
SHANGHAI EXPRESS— Paramount
WHAT a ride! Through the skill of Director Yon
Sternberg and realistic camera work, you hop aboard
the Shangliai Express and crawl through a revolution. Your
fellow passengers are Shanghai Lily (Marlene Dietrich); an
English officer (Clive Brook); a Chinese girl (Anna Max-
Wong) ; a suave Eurasian (Warner Oland) ; a prim matron, a
gambler, a querulous invalid, a clergyman.
The stage is set for drama, and the story mounts vividly
as the camera moves from compartment to compartment
and the train roars along. Miss Dietrich was never more
beautiful, but her face seems immobile and the constant rais-
ing and lowering of her eyelids hardly compensates. Amus-
ing is the perfect English of Anna May Wong in contrast to
Dietrich's foreign accent. A fascinating picture.
*
THE PASSIONATE PLUMBER— M-G-M
WHAT do we care how long Chaplin stays in London
when we can get comedies like this? Here is an
unusual picture that provides a love story, combined with
hilarious Mickey Mouse antics. Couldn't be crazier, but it's
as funny as it's crazy.
The scenes where Buster Keaton serves Irene Purcell
breakfast in bed and those in which he goes off to fight a duel
rival anything Chaplin ever did for sheer tomfoolery. And
that Jimmy Durante deserves the thanks of Congress for
making us forget the depression when all the wise men of
Washington can't make us forget it. The picture producers
should give us more of that clever Purcell girl. Gilbert
Roland does well by a minor role.
51
Here's Your Monthly Shopping List
*
DISORDERLY
cos duct-
Fox
*
ALIAS THE
DOCTOR—
First National
SPENCER TRACY— look out for him, Mr. Gable— Sally
Eilers and Dickie Moore give you a thrilling and amusing
evening's entertainment. You must use the car and take the
whole family to this one, which tells the story of a police-
man and his struggles to be honest. Don't wait for the neigh-
bors to tell you you missed a good picture. Photoplay tells
you not to miss it.
THE medical men are certainly coming in for a lot of screen
glorification these days. Richard Barthelmess essays the
role of surgeon this time and does some superb acting. It's
been a long time between Barthelmess pictures, but this one
was worth waiting for. Full of old-time melodrama, it never
once becomes maudlin. Marian Marsh is the girl who continues
to deliver beautiful performances.
*
THE
IMPATIENT
MAIDEN—
Universal
STRANGERS
IN LOVE—
Paramount
HERE is a picture that won't disappoint you, and if it didn't
come in a month of such good pictures it would belong on
the preceding pages. Lew Ayres and that coming star, Mae
Clarke, are featured. He thinks he should make a "good
woman" of her but she has other ideas. The director was
responsible for "Journey's End," "Waterloo Bridge" and
"Frankenstein." That's enough said.
IN the capable hands of Fredric March and Kay Francis an
old be-whiskered theme becomes an entertaining and amusing
movie. You could write the plot blindfolded— twin brothers,
one a crook with heart trouble, the other a supposed prodigal
but actually a sterling character. But how that boy March
shades the characters of the two Drake brothers! Stuart Erwin
gets over some grand laughs. Good stuff.
POLLY
OF THE
CIRCUS—
M-G-M
HOTEL
CONTI-
NENTAL—
Tiffany Prod.
NO horror here, no gangsters, and Clark Gable never once
socks the beautiful Marion Davies in " Polly of the Cir-
cus." Pure sentiment, and Lord how we need it these days
in pictures. No matter how often you have seen or read this
well-known story, you will want to discover it in its talkie
form. And there's fine suspense in the last scenes that the
original didn't have.
52
SOMETHING new under the arc lights. With lavish sets,
suspense and action, here is presented the story of a crook
who returns for his hidden plunder the night before a famous
hotel is torn down. It catches up the lives of many people
in a whirlpool of excitement. Theodore Yon Eltz, as the crook,
and Peggy Shannon keep the audience with them every step
of the way. Grand cast.
The First and Best Talkie Reviews!
THE
EXPERT-
Warners.
THE
WISER
SEX—
Paramount
/^HIC SALE and little Dickie Moore are the perfect team for
V^this nice, homey picture, about a seventy-year-old man
who comes to live with his married son. Even though he winds
up in the Old Folks' Home, you have the feeling that you have
seen a happy ending, so charmingly does Chic play the role.
Edna Ferber wrote the story, called "Old Man Minick. " Max-
be a few tears, but you'll like it.
SURE, this will tax your credulity, but if you don't take it too
seriously and realize that it's all in movie fun, you'll enjoy it.
The leading man is that new sex appeal lad, Melvyn Douglas,
who made hearts flutter in "Tonight or Never." And there
are also Claudette Colbert, doing very well, and Lilyan Tash-
man in amazing clothes. All about society, politicians and
gangsters. A well done movie.
SHE
WANTED A
million-
aire—fox
FIREMAN,
SAVE MY
CHILD—
First National
SO here's the picture that sent Joan Bennett to the hospital
when her horse spilled her. With its thrills and horrors it's
liable to send you there, too. Joan, who wins a beauty contest
and a mad millionaire, is rescued by Spencer Tracy, the small
town boy who made good. James Kirkwood, as the millionaire,
is grand, and Una Merkel, the reporter in search of a man, any
man, is a howl.
BEHIND
THE MASK—
Columbia
HERE you go to the ball game and even without the pea-
nuts, you'll love it. Don't let the title mislead you. Joe
E. Brown is a big leaguer with a fire engine complex. You'll
be peeling off your coat, climbing out of your seat and into the
bleachers. Every bit of the excitement of a real ball game.
And boy, the laughs. Evalyn Knapp and Lilian Bond are
grand. Here is a picture.
WAYWARD—
Paramount
A CLEVER combination of mystery stuff and real drama,
all so neatly knit together that, although it's a minor pro-
duction, it ranks with some of the spectacular mystery pictures
of the year. Jack Holt and Constance Cummings do grand
work, surrounded by doctors who smuggle and detectives who
don't detect. They made no mistake when they chose Miss
Cummings as a Baby Star.
WELL, there are a lot of good plots in this one. Let's see —
there's "The Silver Cord" and "East Lynne" and
"Nice People" and maybe some more, but wrapping them all
up in one celluloid package makes a pretty dull movie. In spite
of the good efforts made by Nancy Carroll, Richard Arlen and
Pauline Frederick, nothing much could be done to save this
picture. [ additional reviews on page 116 ]
53
PHOTOPLAY'S
o I y w o o d
IhII I lie cJSeaulv tricks
oj all Hie slais cJJrouglii
lo von eacli monlli
Gloria Swanson did not
have glamour in 1926.
But today — her smile is
unforgettable and even
her nose is fascinating.
Her eyes, too, reflect the
spirit of her great battle
for self-beauty
In five years Norma Shearer
has developed from a sweet-
faced girl into a lovely lady.
She has learned to reveal her
perfect hairline, to emphasize
her mouth's appealing curves.
Yet the change is not entirely
physical. Self-analysis, de-
termination and work are
largely responsible
HERE I am in Hollywood again ! The Em-
bassy at the luncheon hour! The Chinese
Theater for the opening of " Mata Hari '' !
The Mayfair Room of the Biltmore!
These are some of the play haunts of Holly-
wood's beauty — beauty so glamorous, so per-
fect, that you gasp and ask yourself, is it real?
It is real.
It is almost unbelievably real. For it is
beauty that has been worked for, made some-
times from almost nothing. This beauty is
the fruit of sacrifice in some way. It has been
suffered for, paid for dearly in time and dollars
and self -discipline.
It is the highest priced beauty in the world.
Contrary to general opinion, Hollywood
beauty is not skin deep. It is not alone the
rose-textured skin of sixteen or the gold of
youthful curls. Hollywood beauty is, however,
eau
iy
Conducted By
C.
h Carolyn
O P VanWyck
Was it heartache or am-
bition thatchanged Greta
Garbo from this unkempt
child intoa national figure
of romance? Certainly
masterful eye make-up
has done its part
largely the result of self-study, of effort and de-
termination to correct a fault and a develop-
ment of personal allure which can sometimes
make you feel beauty where literally there is
none.
Shown on these pages are four of the most
glamorous faces in Hollywood ! A comparison
between past and present portraits is more elo-
quent than words. You can see the results of
effort and development in these faces, and you
would be amazed at some of the beauty bar-
riers these actresses have overcome.
Every star has her own little beauty secrets,
her tricks of overcoming this and that weak-
ness which you and I and the rest of the world
possess. Beauty like theirs is yours, too, if you
want it and will work for it like the stars do.
Nature does a good job in one out of fifty; with
the rest good looks is a personal achievement.
Joan, does that
beautiful strength
in mouth and chin
tell the story of
your transfigura-
tion, too? Com-
pare the butterfly
with the grub.
Can you believe
they are the same?
55
Make-Up And Perfume Trick
Ima9ine it — Lupe Velez works
to make her face shine! But we
must admit that those high
lights are charming. First, Lupe
removes all make-up with
cream, then she bathes her
face in soap and water. For
further immaculacy, protection
and powder base she uses a
liquid cleanser or skin tonic.
Then she powders lavishly and
polishes her face for that child-
like gleam. This glow is par-
ticularly alluring if your eyes
are large and your skin is fine
June Clyde is showing you how to rouge the space
below the brows to obtain a fresh, youthful effect. Use
just the slightest glow of color and let it fade toward
the temples
T\ 7"HEX you consider beauty as a personal
W achievement you have caught the spirit
that is Hollywood and Broadwayand Piccadilly
and the beauty centers of the world. You will
understand that the gardenias and the orchids,
the ermine and the sable, bestowed at the feet
of beauty, are the world's rightful tribute to a
great art, the art of appearing to be beautiful,
whether or not nature made you that way.
OXE of the sweetest faces I noticed in
Hollywood was that of little Rochelle
Hudson. Her hair is a nice brown, her eyes
very blue, and her skin so fine that a still pho-
tographer tells me the closest of close-ups never
has to be retouched.
She has lovely lashes and here is her secret.
For three years she has used a little eyelash
curling device which has taught her lashes to
turn heavenward most becomingly, and the
slight pressure, Rochelle says, has exercised the
lashes and made them grow much longer.
Tf 7HEX I met Karen Morley face to face.
W I was shocked. I had first met her in
'"Mata Hari, " where as the ill-fated Carlotta
she came to an untimely end for knowing too
much. Well, Miss Morley really has blonde
hair, which changes her face entirely.
IF you happen to be by nature without much
eyebrow, take heart in this. The less eye-
brows the Hollywood girls have, the better
make-up they manage. In fact, all they need
is a little brow at the inner corner of the eye-
Make-up can then carry the outer end wher-
ever they wish, with no natural brow anywhere
to interfere.
As a rule, that new, high, thinly arched brow
gives a very sophisticated expression, while the
brow that is straight and closer to the eye adds
sternness and sometimes an almost sinister
look. As a matter of fact, the perfect brow
follows that arch of bone just above the eye
socket. But Hollywood has forgotten that.
One make-up artist cited Sidney Fox's eye-
brows as being perfect because they do adhere
to this line.
"Perfume yourself instead of
your frock/' advises Adrienne
Ames, as she shows you how
to use perfume before donning
your evening gown. The
chemical composition of the
skin and hair often will affect
the same perfume so that it be-
comes different on each per-
son. If you will spray your
underthings and personal ac-
cessories, too, rather than your
frock, your fragrance will be
more lasting and subtle. Per-
fume on furs is also particularly
persuasive and enduring
"Y"OU know, of course, of the lashes to be ap-
■*• plied to your own lashes or to your lids. But
just in case you haven't been paying atten-
tion— one is the complete luxuriant lash on
skin-like tissue which will adhere to your upper
lid. Then there are those marvelous lashes to
be applied one by one to the ends of your own.
Do they stay? Somewhere I met a single lash
that had been in place for six months. Its
owner had watched it carefully. A month,
though, is a fairer estimate.
But the very newest are adjustable brows.
I don't know what you are supposed to do
with your own. They're probably marvelous
for stage make-up or evening.
"VOU may admire Miss Dietrich's loveliness,
■*■ but let me tell you that the black, white
and gray values of photography do not
do justice to her beauty — it is so largely a
matter of color. The loose, irregular curls that
peep from her side-wise sports felt are naturally
and decidedly golden, but it is her skin that
holds the eye.
I am told she scrubs this skin daily and then
uses a spray of cold water over her face. Try
this cold water spray if you want a real re-
freshant. Those eyebrows may grow in that
butterfly or satanic manner, but I am sure
she steered them a little. Off the screen both
lashes and brows are blonde like her hair.
An evening trick from June Clyde. Shadow
your chin cleft or dimple lightly with a blue-gray
lining pencil, then powder well. This makes
your chin much more interesting
57
Curls For The
Outdoor Girl
And A New
Formal Coiffure
This is the Olympic bob introduced by
Madge Evans in "Are You Listening?" It
combines softness with a trimness well
adapted to the activities of the young
athletes who will participate in the
Olympic sports. This is an ideal bob
for the younger girl, for these curls will
peep as charmingly from a sports beret
or toque as they will enhance an evening
chiffon, crepe or velvet.
The hair is parted at the left, loosely
water-waved, with swirl effect at back,
and the ends curled upward irregularly
WIGS and transformations are very much
in vogue in Hollywood these days. Many
roles call for blonde hair because it photographs
better than dark. Many players, however,
prefer to use wigs rather than change their
natural hair. Nevertheless, the blondes cer-
tainly are in the majority, with brunettes
second, and next to no redheads.
HOLLYWOOD must spray, sprinkle and
otherwise dab a large percentage of the
world's perfume. Everyone is delightfully
scented. Joan Marsh mixes her own, a blend
of light floral odeurs.
So do many others.
If you have a keen nose and an experimen-
tative mind, here is some fun for you. Almost
all floral odeurs are sympathetic to their kind
and by changing proportions of the same per-
fumes you can have one for every occasion.
Gardenia, rose, violet, sweet pea and the whole
flower family are very popular just now.
Marlene Dietrich, I am told, sprays her bed
linen with toilet water — a lovely habit if you
like to sleep in a lilac or lavender atmosphere.
[ More Beauty Hints on page 88 ]
5S
Anita Page's semi-classic coiffure
gives you the best reason in the
world for wearing one earring. It
also sponsors those little flat face
curls so much of the moment. The
full side is the most flattering be-
cause the profusion of hair gives
play to every highlight and shadow.
But the other side is the chic side.
One ear and one earring are very
piquant and if He doesn't like one
side, He's sure to like the other.
The back, too, is quite as bewitch-
ing as the other views. If your hair
isn t long enough, use a separate
chignon or knot. You will find this
coiffure comfortable and smart be-
neath those shallow spring hats
59
oixty Inches Of
IVlany IVloods
lie .Borrowed
AN
a m e
ONE day Sidney Fox is madlv in love, the next day she
isn't.
Sometimes she has social ambitions and hopes that
Hollywood will invite her to parties and let her play hostess,
too; again, she wants to climb into a little shell and live away
from the world with her books.
At certain moments she is domestic and maternal. She wants
babies with an intensity that brings tears to her really immense
black eyes. Ten minutes later she is just as intensely wondering
when her name will flash in electric lights that mean "one of the
biggest artists."
Then she wouldn't have babies or a husband or anything
that might interfere with professional success spelled in
capital letters.
She says of herself:
"I have only a social sense of humor. I can laugh and talk
and make people think I am gay and full of fun at a party.
But that doesn't work when I'm alone. Then I am blue, morose,
moody. I don't know what I want from life. Oh, yes I do.
I want happiness and / can't find it!"
Like all unstabilized and too-pretty girls, Sidney taks advice
and flattery too easily.
She got in wrong at her studio in the beginning. " Be aloof,"
some people told her. So she was aloof and always late for ap-
pointments until the publicity director said, "Who in thunder
do you think you are? Come down off that high horse and be
human." She cried.
Now, she says, " I think the more simply you live, the happier
you are. I'm going into a tiny apartment where I won't have
to worry about things. I'm learning to drive my own car so I
can dismiss the chauffeur. I'm going to keep just one maid.
I'm going to try to get acquainted with myself. You see, I don't
know myself at all."
But the fans know her and like her for her grand work in
"Bad Sister" and "Strictly Dishonorable."
And Photoplay thinks she's such a good bet that we're put-
ting her picture — a lovely one, too — on the cover next month.
60
WALLACE FORD began life on a doorstep, and the
wrong doorstep at that. He was left a foundling in
London at the haven for homeless girls. The home for
orphaned boys finally relieved an embarrassing situation.
He was known as Sammy Jones and when he was seven or
eight years old he discovered himself on a ship bound for
Canada. Work, and plenty of it, on a Canadian farm awaited
little Sammy. A few months of bitter cold mornings tending
cattle, of back-breaking labor in the fields, and Sammy ran
away to sell papers on a street corner in Winnipeg.
Out on his own. From job to job. From cellar to barn.
From doorstep to theater basement. Hungry. Cold. It
sounds like a sob story. But it's the truth.
Sammy's best friend was Wally Ford, a sort of tramp phi-
losopher, and with him Sammy hopped his first freight train.
Wally ran for it and missed. Sammy glimpsed his friend
beneath the wheels but the train had gained speed so that he
couldn't let go. With tears streaming down a wet, smudgy
face, he hung on. Whirling past strange towns, strange homes,
strange people. A heart-broken kid. Unable to let go. And
there it was, on a speeding freight, the name Sammy Jones died
forever. He had always hated that name.
"He was a pal and he won't mind my taking his name,"
Sammy reasoned. So Sammy took the name Wally Ford. And
headed on. Alone.
Tent shows. Stock companies. One night stands. Show
boats. And at last Broadway. Then Hollywood beckoned and
you saw him, that natural actor, in "Possessed." He played
Joan Crawford's country boy friend, and they say he's to be a
big success.
He never spent a day in a schoolroom and he hasn't the
slightest notion who he really is. In the spring Wally hopes to
go back to London to track down a few clues. No matter who
he may find he is, he'll remain a grand guy — this lad who bor-
rowed a name. If you saw the life of Sammy Jones (alias Wally
Ford) made into a screen drama you'd say, "It could not
happen."
Itain Orings
ller .Luck
Don't Call Hi
m
x latin
um
SHE comes from Boston, wears size four shoes, has the big-
gest blue eyes in captivity and is one of the few natural
blondes in Hollywood.
For a year Bette Davis loitered on the Universal lot as the
mild, little sister who played country maidens too cute for
words, and then she emerged in "The Man Who Played God"
and "The Rich Are Always With Us" as one of the smartest
moderns in town.
Her eyebrows, in strange contrast to her hair, are black.
When she was a kid in summer camp schools, Bette was thrown
in the lake on the average of seven times a day to wash the
mascara from her eyebrows. It didn't wash. It's just there.
As an awkward girl in her teens, with a squeaky voice and no
personality worth mentioning, Bette arrived in New York with
her mother.
" I haven't much money," Mrs. Davis confided to John Murray
Anderson, "but won't you take her in your stage training
school?"
Anderson did and Bette won a scholarship, four stage en-
gagements, fell in love and eventually into Hollywood.
She has a perfect mania for picking up things and putting
them in place. She's orderly and loathes it. She usually
arrives ahead of time for appointments.
Loves to go to parties, but feels she's a social flop because she
always gets sleepy by the time everyone arrives. And sleeps
through all the fun.
She has been in love with the same lad for six years, off and
on. Mostly on.
The harder it pours, the better she likes it. She was born
during a heavy rain storm, and every nice thing that has hap-
pened to her since has come in the rain. She knows rain brings
her luck. Let it pour.
She's grateful nice things just happen to her, for she feels sure
she hasn't the stamina to fight for them.
"Success," says Bette, "is usually just a pain in the neck.
And those who are successful are often too miserable to know
it." Yet she herself is on the road to success.
IF you call Gene Raymond a platinum blend you'll regret it.
Of course, he is and always has been since the first sign of a
baby curl appeared on a bald pate, but he doesn't like the
sound of the phrase. His hair is naturally platinum colored and
so are his eyebrows and lashes. That's how you recognize the
lad who played tunes on your heart-strings in "Ladies of the
Big House."
But he looks much bigger in pictures than in real life, and his
face much rounder. It is really a long, narrow face and, although
well built, he is a slight man.
That's why he's always trying to gain weight and that's why
he eats almost anything that's set before him, if there's enough
of it, but prefers several yards of a big juicy steak which verges
a little on the rare side.
He is crazy about horses and he doesn't play polo so much as
he'd like because the game is too rough on the horse.
A cold, biting snow is his favorite type of weather and that's
one reason the perpetual sunshine of Hollywood gets on his
nerves.
He's active in New York, and in Hollywood he is as lazy as
a studio gateman. He was bitten by the manaha bug and
swears it's the climate.
A trouper all his life and one of the leading Broadway juve-
niles, he determined that he would have everything Hollywood
offered, so he rented a house with seventeen rooms, swimming
pool and tennis court.
His mother and brother share the house with him, for he
isn't married — yet.
Big parties bore him — he'd rather be with a small group of
friends, or walking or riding horseback alone. Or maybe just
listening to the radio. He likes symphonic music but leans
toward the melodic for his real enjoyment — " Liebestraum" and
"Melody in F" are his choice.
Pictures in which he can really act are his favorites, and in
the scene in the cell at 4 a. m. when the talk was done in whispers
he was pleased with himself for the first time. "I think that
scene really had something," he said.
61
I R
e mem
beri
r
By Leonard Hall
Aged and reformed
dramatic critic, who
knew them when,
recalls when bright
stars were mere
satellites
1912. A sixteen-year-old schoolboy leans over the balcony
railing in the old Euclid Avenue Opera House, in Cleveland.
You could have hung hoops on his eyes. On the stage a tall,
slim, blonde girl is singing a waltz song with the plump tenor.
"Oh. Won't You Come to the Ball?'' The show's "The Quaker
Girl." She's the loveliest thing the boy has ever seen — too
beautiful to be true. Bingo — lie's in love for the first time!
Going home on the street car he rides six blocks past Beech
Street, where he lives. Ina Claire.
1922. The stage of the Keith
Theater, in Washington, is filled
with dancing girls, the aesthetic
kind. Each is wearing a yard of
cheese cloth and a beatific smile.
Suddenly a slender young man
comes leaping and bounding among
them. Save for a loin cloth and a
fillet around his dark brown, sleek
hair, he's as God made him. His
skin is rich olive; he isn't handsome,
he's beautiful. He hops, skips and
postures. Ooo! The dancing girls
are frightened! He leaps some
more! Ramon Novarro.
1921. It's a great night
at the ratty old Berchel
Theater, in Des Moines.
The house is packed with
the hot shots of the corn
country. The governor's
here! A slender girl is on
the stage — her voice isn't
merely talking— it's singing
spoken words. Its magic
holds the house like a vice —
you could hear a feather
drop. " Mary Rose" is the
play — a confection by a
little Scotsman named
Barrie. That eager face —
that wheedling, coaxing,
compelling voice, all music!
She floats off-stage — a thou-
sand people sigh audibly, as
one. "Mary Rose!" Ruth
Chatterton.
T
reasure
in this issue
1928. It's one of those
sweltering New York nights,
and a couple of hundred
people have staggered into
the red-hot Booth Theater,
where "The Garrick Gaities"
are playing. An amateurish
song and dance show,
pseudo- sophisticated.
Phooie! Let's go home! A
curly haired song and dance
kid does a number with an
inconspicuous girl — one of
those songs you forget be-
fore they're over. They do
a harmless shuffle. The boy
doesn't get a second look.
Just a hoofer, and pretty
terrible, too! James Cagney.
62
PHOTOPLAY
Much safer than hunting for
Pirate Gold, no fear of having to
walk the plank, and 1,000 times
more chance of getting away with
doubloons to buy silk shoesies for
baby or platinum spectacles for
grandpa.
Skip through the pages of this
issue of PHOTOPLAY, find the
right Fifty Words and the gold is
yours. See rules on page 102.
1922. They're putting on a stock show down at the Lyceum
Theater. We know the manager — let's drop in. What's the
bill? "Ladies' Night (in a Turkish Bath)" — what a shocker
THAT was in its day. Who's the tall blonde in the company —
the one who's a bit plumpish, and has a deep voice? Used to be
in the "Follies"? She plays with a lot of gumption. Dollar
stock in Baltimore, on a hot May night! Great life, trouping!
Aw, let's go and get some beer! Libyan Tashman.
1927. The big Hungarian and I
have just had dinner with some of
his friends — chicken paprika and all
the fixin's. We're bumping down-
town on the Broadway- subway,
knocked around by the mob. He's
a bit down on his luck — no job,
none in sight. He looks tired and
low in his mind, and not too dapper,
either. " What are you going to do
now?" I ask. "Oh, I dunno — I
look around," he says, with
his thick Magyar accent.
"Something turn up." He
says goodnight, shambles
out. Bela ("Dracula") Lu-
gosi.
1925. The sweet and hot
little band in the Club
Chanticleer, Washington, is
playing "Oh — Sweet and
Lovely Lady, Be Good!"
Across the table from me is
a curveful, curly-headed
little dancing girl, sheer
peaches and cream. She's
playing a tiny bit in "May-
flowers" at Poll's Theater,
and we've picked her up
after the show. We tamper
with a bit of lobster ther-
midor. "Sure I'm happy,"
she says. "I've got a nice
husband and a wonderful
baby, and I like show busi-
ness. Let's dance!" "Lady
Be Good!" moans the little
band. We dance. Nancv
Carroll.
A Thrilling
Hunt
of
$500 in P
rizes
1923. Brilliant Ruth
Chatterton and the aging
Henry Miller are playing
that beautiful drama of
youth and old age, "La Ten-
dresse," on Broadway. The
magic of Ruth's voice gets
us, as always, and we hardly
notice the entrance of the
leading man — a slender
young Englishman with a
small set of moostachios.
"Who's that guy?" I ask the
girl beside me. "Don't
know. Sort of nice looking,
isn't he? Lord, isn't Ruth
marvelous in this?" The
[ PLEASE TURN TO PAGE 123]
Elissd
Landi
Wears
These
to
CUSSA LANDI evi-
*— dently trusts her
designer pretty well,
because here you see
a suit as she wears it
in her new picture
and also you see the
designer's sketch of
the same model. Hard-
a change made,
here's nothing more
youthful than a bolero
— and doubly so when
it has a trick collar
like this of white
pique. A navy blue
chiffon weight woolen
is the fabric. The man-
nish buttoned vest is
pique, too. Don't miss
the straight, slender
lines of the skirt —
suits are trimmed to
the figure this season.
WHEN you see "The Devil's Lottery" you'll see
Elissa in some striking new clothes. This after-
noon gown in beige chiffon with brown and green
plaid overblouse is worth a careful look.
SIX NEW FASHIONS TO LOOK
FOR IN COMING PICTURES
DOES your height bother you in choosing
clothes? Miriam Hopkins, who is one
of the smaller stars, says that shortness need
not be any drawback to chic. And if you
don't believe it, watch how perfectly Miriam s
clothes seem to fit her type. Take this street
dress in a sheer brown woolen which she
wears in "Dancers in the Dark." It has a
beige flannel collar that gives a long neckline.
Small sleeve puffs above the elbow have
a fringed finish which is repeated on the
bodice and hip also.
VEN negligees af-
— feet a scarf neck-
ine these days. This
ame red velvet one
which Karen Morley
wears in "Arsene Lu-
pin," has a scarf
which starts at the
right side of the neck-
ine with its long throw
casually draped across
the other shoulder.
This would be perfect
in satin for summer.
TLOWERS and veils
on little tight fitting
straw caps are fashion
news in hats these days.
Adrienne Ames is look-
ing particularly fetch-
ing in one of black
rough straw. Those are
daisies circling the edge
and if you could see
the other side of
Adriennes head, you
would note that they
form a wide band
there.
yOU who like to know
what you'll be wearing
next in hats, can take this tip
from Juliette Compton — it
will be one of these sma
affairs that looks like a sail-
or's gob hat. Some call that
up-turned brim, the aureole.
Clever sleeve on the coat.
From "Strangers in Love."'
HERE'S another costume
that illustrates Miriam
Hopkins theory that "you
can dress tall even if you
aren't." Her slender black
crepe dinner dress gives
height with its utter simplic-
ity—and that short jacket
beaded in crystals adds to
the illusion. The jacket dips
in back — a lengthening trick.
From "Dancers in the Dark."
HAT the well-dressed bride wears in
an airplane" could be the title of this
charming picture of Frances Dee. In her new
picture, "Sky Bride," you will see her wearing
this good looking brown and beige tweed
dress. The striped pattern of the woolen is
used horizontally for the tunic and vertically
for the skirt. Buttons down the front, pique
as trimming, and brown accessories should
not be overlooked.
TALLULAH'S NEW
CLOTHES ADD GLAMOUR
TO "THUNDER BELOW"
TALLULAH BANKHEAD is
I one person who can go in
for exotic dress and get away
with it. Her new screen clothes
are sheer glamour. By means of
a cowl-like cape she cleverly
covers the extreme decolletage
of this copper-colored sequins
gown. A flame satin sash girdles
the waist, falling to the hem in
long streamers. Note the cross-
strap back without the cape.
HERE'S an idea for your summer evening
wrap. Tallulah's beautiful white bro-
caded satin gown has a three-quarter jacket
of the satin. The sleeves, only elbow length,
are bordered in sable. A scarf neckline is
stunning. The skirt coulc
wood
now
"If that girl isn't off this set in
half an hour, I'm not respon-
sible for her life," thundered
the doctor while Renee Adoree
was working in "Call of the
Flesh." Here you see the last
scene filmed before Renee
went to the Arizona sanitarium.
She collapsed immediately
afterwards. Read this dra-
matic off-screen story
Katherine Albert tells about trag-
edy in studios and homes of great
and near-great
AND now we come to the question of Hollywood sin.
Is it or isn't it? Do the members of the colony all go
to bed at nine o'clock, after having worn themselves
out playing charades and drinking hot chocolate or
are they a bunch of hell-raising, rip snorting, devil-may-care
folk who would chuck a grandmother under the chin?
A strange thing happens to short story and article writers
when they go to Hollywood. I heave a sigh every time I
read that one is on his way, for I know the inevitable story
will be published. You know that story. It has been written
by almost every famous pen-pusher. As if the writer v/ere
making the greatest and cleverest of discoveries, he tells you
with naive delight that he went to Hollywood expecting to
see lurid sin and found a group of friendly people playing
charades in a nine o'clock town where they pull in the side-
walks as the curfew rings.
You read these sweet accounts (you'd think writers could
think up a new one) and then next morning you pick up your
papers and discover blazing headlines about some new Holly-
wood scandal. It's pretty confusing, isn't it? I should
think it would keep you unstrung.
So let's clear it up once and for all. The truth is so simple
I wonder somebody hasn't thought to set it down before.
There are, gentle reader, two types of Hollywood folk. There —
that's your answer.
There are those people (but I'm afraid to tell you their
names for fear a scandal about them will break tomorrow)
who do lead simple, home lives, who do play charades and
"Guggenheim" and who do toast marshmallows before their
fires. That is very nice even if it is depressing. It seems to
me rather a sad commentary on the cinema center that it is
impossible for a group of fairly intelligent and decidedly adult
people to amuse themselves without resorting to a game.
BUT any clever hostess knows that there is conversational
poverty in Hollywood and she must start a game going or
else the talk will turn to pictures and picture people. During an
exciting hide the slipper hunt, someone remarks, "Well, look
at us, sitting around playing games. Wonder what the public
would think of sinful Hollywood now."
I'm pretty fed up with that, for every one of these nice
people knows that there is sin — and plenty of it — in Hollywood.
Well, then, why don't you hear more about it? Why is it
that only occasionally do rumors of brawls and fights seep
through to you? Here's the reason. The picture people
know that a public scandal can ruin them. Therefore, they
67
have their fun right in their own
homes, where prying eyes cannot
see them. I his is different from
any other gay city in the world.
New York has its speakeasies;
1'aris its sidewalk cafes; New
Orleans its French quarter Holly-
wood has only its homes.
There is only one bona fide, first
class, gooil sized speakeasy in
I lolly wood. It is referred to as "the
speakeasy." The few night clubs
are always dosing up for lack of
business; and even when they are
open, you'll see only the very last
string picture hangers-on there.
The film people cannot afford to
risk their reputations at these
places. That's why, when you go
to Hollywood, you see a sleepy
little nine o'clock town. That's
why you begin to think maybe the
newspapers have exaggerated (as
indeed they often do) and maybe
it is as perfect as it looks.
You walk along the streets of
Beverly Hills in the quiet of the
evening. They are almost de-
serted.
You see no disorderly conduct,
no careening cars going to some
wild place of amusement. Y'ou con-
clude, therefore, that there is no wildness in the colony.
But pull up the blinds of some of those lovely Spanish
houses that line the streets. Step inside the front door, past
those sound-proof walls and you'll find a human share of sin.
I saw the drunken sister of a well-known featured player,
crazed with jealousy, fly at her sister's throat at the home of
another star and almost mutilate her valuable face. I heard
Once this man was as popular as Clark
Gable is today. The talkies tragically
nipped Nils Asther's career in the bud.
But now that slight accents no longer mat-
ter, he's coming back at his old studio
that sister threaten to tell tales that
would involve four important mem-
bers of the colony. The logical
thing to have done under the cir-
cumstances would have been to call,
if not the police, at least a doctor
to cope with the liquor maddened
girl. But it was impossible; the
story might leak out, the doctor
might tell. One word gripped us all
— Scandal!
I was at the home of a friend
when a muffled voice over a tele-
phone begged for aid. The woman
who needed assistance was a star
who had just been brutally beaten
by her boy friend.
I sat in a room one night and saw
the ex-wife of a well-known male
star threaten the life of her one-
time husband's girl friend with a
knife.
I heard a mother and daughter
quarrel until they almost came to
blows because both were in love
with the same man.
And I have seen more that I
could not repeat even anonymously.
I have witnessed scenes which would
delight the tabloids, but which did
not get into print because they were
laid, not in some wild night club or
back-alley speakeasy, but in homes. That's why the stories
didn't leak out, that's why writers who come for a short visit,
who meet the screen great only superficially, go back to their
typewriters and pound out that story about the one hundred
per cent respectable little village.
There are two kinds of people in Hollywood — the good and
the bad; the nice and the not so [ please turn to page 126 ]
H
T
unt
Th.
reasure
In this month's PHOTOPLAY
Yo! ho! ho! and a bag of gold. As you
rove through your PHOTOPLAY this
month, note the Fifty Words that, as-
sembled neatly, tell a little tale of picture
people. Turn, gentle reader, to page 102
and read the rules of this fascinating
Treasure Hunt.
$500°-° in Prizes-Test Your Wits
6S
IMow! (jrirls! £1
er e s
P
tor ±o u!
P
By Sylvia
The Hollywood miracle worker is
pleased this month, because all over
the country thousands of readers of
PHOTOPLAY are getting back their
figures and feeling better day by day
A — First position of the exercise for reducing the stomach. Arms stretched tight above your head, you must feel the
muscles of the stomach pulled tense. Now, without changing the position of arms or legs, roll over on your face,
making sure that the stomach touches the floor. And go into the position shown in picture B, below
I WAS wrong! And I'm willing to admit it. Yes sir, I was
wrong and the funny part is that I'm tickled to death I was.
I told you in my very first article that I was talking to only
one out of every ten girls; that only one out of ten would
follow my advice. To tell you the honest-to-goodness truth I
thought when I wrote that that maybe I was too conservative.
Last month I asked you to send letters telling me whether or not
I was helping you. Since that time I've had thousands and
thousands of letters. Why, I wouldn't have believed it unless I
had seen it with my own eyes. And hard-boiled as I am, these
eyes grew misty as I saw all those letters thanking me for
making a figure where there was none before. So I'm in a
good mood today and I'm glad to admit that you're better
than I thought you were. You surprised me.
Honestly, the way you've come through, the way you tell me
you've stuck at it and at it and reduced yourselves, and are
on the road to having a good figure, tickles me more than any-
thing that has happened to me since I worked on Alice White.
You see, I like to overcome obstacles, and you and Alice White
were obstacles.
I shall never forget the first time I went to see Alice. She
was a roly-poly little person. I thought she was a cute kid
but oodles too fat. She weighed about 136 pounds and was
exactly five feet tall.
I remember that she was having a bridge party at the
Roosevelt Hotel and when I came in (she had made an appoint-
ment with me) she said, "Won't you have a seat?"
This was about nine o'clock. She went on playing cards for
an hour. At last I got up and started to leave. She rushed
over and said she had forgotten all about me and that she'd
come right along.
I promised myself I'd give her what was coming to her. She
asked me if she was looking terrible. "You're looking worse
than that," I said. I was angry from being kept waiting.
B — Pulling the legs slightly inward, roll back to position A. As you do, progress along the floor. The idea is to roll
and hitch yourself along on your stomach. This should be done for ten or fifteen minutes every morning. Watch
the improvement. But that's not all. Read the story to find out how to keep the stomach flat
69
C — These axe what I call the pep exercises.
Working with the left hand on the thymus
gland, which is in the middle of the chest, rub
from there gently upwards with the right
hand, keeping the left hand going in a
circular motion. Repeat the same exercise
on the other side. Slide the upward moving
hand gently
D — With both hands dig in with the fingers
to the muscles that I am touching here. My
two hands are at two different spots. Work
up and down always with a digging in,
pinching movement. Don't be afraid to dig
in hard on these spots. It is better for this,
and all these exercises, to have cold cream
on the ringer tips
I gave her a massage that she'll never forget, but she didn't
complain, and she made an appointment for the next night.
But the next noon the telephone rang and somebody said she
was speaking for Miss White who couldn't keep her appoint-
ment with me. Well, I was not surprised, so I just crossed
Alice off my list and prepared to forget about her, but a week
later I heard a very small voice over the wire. "This is Alice
White, " the voice said.
" For heaven's sake, are you still alive?" I asked.
"Yes, and I would like you to take me back. I tried everybody
else but they can't reduce me. " Alice has always been frank —
that's why I like her, and that's why I liked a lot of your let-
ters. Many of you said that you tried to follow my instruc-
tions, didn't have the nerve at first, but went back to them
later, and for that I'm proud of you. You'll get your reward.
LOOK at Alice White today. She has one of the cutest figures
of any of my girls — she weighs just 94 pounds. And at
first she was going to ritz me! Later, she did what I told her
and has reaped the benefits.
I'm awfully proud of Alice and I'm proud of you, too.
But don't let my exuberant
mood go to your head. The
work is not near completed yet.
Beauty is a driving taskmaster.
I told you last month I was going
to have some surprises for you.
I had just begun to tell you how
to keep your face looking young
and firm while you were reduc-
ing your body — remember? It
was to be done with gentle mas-
sage and a hard vibrating pres-
sure of the fingertips just under
the cheek-bones, right between
the eyebrows and at the temples.
But there's more to be done.
Both fat and thin girls must
stimulate the thymus glands.
Did you know that most of your
health and happiness centers
right around your neck? You
must keep your neck loose in or-
70
SYLVIA'S first article giving the gen-
eral reducing diet for fat girls and the
general building-up diet for thin girls, as
well as reducing and building-up exer-
cises for night and morning, appeared in
the February issue of PHOTOPLAY. The
second of the scries, which began the
exercises to keep the face from becoming
flabby while the body was being reduced
and also explained how to take off sur-
plus weight around the hips, was in the
March issue. You may obtain one or
both of these preceding numbers by
writing to the PHOTOPLAY office at 919
North Michigan Avenue, Chicago, 111.
Twenty-five cents apiece.
der to have sparkling eyes. We all do strenuous, nerve-rack-
ing work. We must loosen up the neck and shoulder muscles.
We must work on those glands. And no little gentle tappings
either. You've got to dig in deep. And you must do it every
day, night and morning. It doesn't take long.
Study pictures C, D, E and F and read the captions. This
must be done twice a day and you'll be amazed at how much
pep you'll have afterwards. When you have a stiff neck it is
impossible to look happy. When you look happy half your
beauty battle is won.
I have a friend who was sick all the time. She told me
nothing could be done for her. I said, "I'll show you just one
funny, little trick." I explained the digging in exercise for
neck and shoulders, and discovered that all her ailments were
caused by a stiff neck and shoulders. She said later that if she
were dying she would want Sylvia called in to work on her back.
You fat girls and you skinny girls, too, do these exercises
twice a day for as long as you can. Several times every day,
while you're at your office desk or in your home, work on your
neck and shoulders. Why, you feel better already. You're full
of pep. You're stimulated. You're alive. You look happy. Your
eves sparkle. Isn't it wonderful?
And so easy, too. But don't for-
get to dig in and dig in hard!
Maybe you think because I'm
so happy with all the letters I'm
letting you off easy, but I'm not.
This month we take up the exer-
cise for reducing the stomach
and that's not easy. Look at
pictures A and B and read the
captions. That's your exercise.
For the first few mornings sub-
stitute this exercise for the hip
exercise I gave you last month
and then do both — for ten min-
utes each. You'll be surprised
at how quickly you'll reduce
your stomach. Fat girls must do
this. And a lot of thin girls have
big stomachs, too. But that ex-
ercise isn't all there is to taking
off the stomach.
\
E — Now for the neck. With hands on
either side press the flesh of the neck to-
gether. Then release it. Then press
again. This loosens tight muscles, and
makes you feel grand. When you're
nervous try this at your office desk or while
you're doing house work. It should be
done for a few minutes every night
F — Place the thumbs where I have mine,
letting the fingers rest upon the head
gently. Press in deep with the thumbs.
Dig in and dig in hard. Another exercise
to relieve nerve strain and make the eyes
sparkle. These four exercises go together
and should be done in sequence every night
before going to bed
When you sit down to your meals don't flop in your chair.
Hold your stomach in and your shoulders up, and you won't
be tempted to put more into your system than you really
should. I know everybody loves that full, comfortable feeling
that comes after you've eaten a big meal. But that feeling is
fatal. Sure, it's nice to sit around the table after a meal and
talk. Don't do it, unless you want a big, fat stomach. Right
after a meal get up and walk around the room for ten or fifteen
minutes, holding your stomach in. If you work in an office,
walk around the block instead of chatting over the luncheon
table with a friend. Always wear
a good foundation garment to
make you hold in your stomach,
if you haven't got the nerve to
do it yourself. A foundation gar-
ment is necessary to reduce your
stomach for it makes it impos-
sible for you to follow your nat-
urally lazy habit of slumping in
your chair. Slumping is one of
the troubles with fat people.
Why can't you get up and move
around? Anything wrong with
your legs?
The thin girls drink milk with
their meals but to you fat ones
who want flat stomachs I say,
"Do not drink any liquids with
your meals. " Let the saliva
liquidize your food. It is best
for you. You may have your
coffee or tea after you've finished
eating. And I'm not so terribly
keen about a lot of water drink-
ing between meals, unless, of
course, you have some kidney
disorder and the doctor advises
you to drink water. You must
obey him, of course. But, if
you're normal, two glasses of wa-
ter a day is plenty.
A lot of water tends to expand
the stomach. Drink a glass of
Thin Girls Can Enlarge
Their Chest Measure 2 to 4
Inches This Way
r AST month I gave a breathing exercise
-■-^for thin girls who wanted to develop
the bust. Here is another. It's so simple.
Just do the regular swimming exercises
featuring the breast stroke. Do this
every morning before an open window for
fifteen minutes. And do it as if you Mere
really cutting through the water. It will
develop your shoulders, bust and arms,
and is better than actual swimming
since it will not make your hips fat at the
same lime. But be sure to feel your
muscles pull and pull. Do it hard and
earnestly. Measure your chest before
you start and again at the end of a
month. If you do not miss a day taking
this exercise, you will be amazed at the
improvement you will show.
water in the morning and one at the end of the day. There is
a lot of water in the diet I've given you — in soups, vegetables,
tomato cocktails. You must shrink your stomach to make it
smaller. It's funny how easily people get used to less food in
their systems and how much better they feel for it.
Now you girls with fat stomachs — there you are. The morn-
ing exercise, the getting up and walking around after meals,
and holding your stomach in when you sit and when you walk,
and wearing the foundation garment. Watch how fast that
stomach measure is reduced! Oh, how I hate to see anyone —
man or woman — slump. Pull
yourself together, hold in that
stomach, throw back your shoul-
ders, hold your head high. Walk
as if you owned the world. You
do, you know, if you only will
believe it.
Besides taking the swimming
exercise thin girls should be care-
ful about clothes. Ruth Chat-
terton has a thin chest. If you
will pay attention to her clothes
you will learn a lot from her.
The necklines are always round
and rather full or shirred around
the neck, so that they give an
extremely attractive appearance.
There — you fat girls get busy
and take off that stomach, and
you thin girls get busy and add
weight to the bust. But be sure
to keep up the former exercises
I've given you. Also, both fat
and thin girls keep your neck and
shoulders limber. Dig in and
dig in deep. I cannot emphasize
this too much.
And, now, because you're so
good and have followed my in-
structions so well, I'm going to
be good to you. Don't fall off
the Christmas tree! I've had a
[ PLEASE TURN TO PAGE 119 ]
71
This Giant Camera Crane
HERE is a complete trip through a
studio, on two pages. Study this
picture carefully and you'll find every-
thing there is to be seen on a sound stage.
And some things that have never been
used before.
See those two fellows sitting in the nest
of the giant camera crane? They are an
assistant director and a cameraman and
while the brisk action for Paramount's
"Dancers in the Dark" goes on, on the
Boor of the stage, these two men enact
a little drama of their own.
Long-shots and close-ups are being
taken simultaneously. The floor camera
takes the long-shots while the men and
apparatus in the crane are silently pro-
jected, winging like somegiant bird, up and
out and down, picking up whatever bit of
business looks interesting, swooping from
the orchestra at the back to Miriam
Hopkins and William Collier, Jr., in the
foreground. The crane is manipulated as
easily as a child's toy.
Every extra girl is acutely aware of the
camera of fate which hangs above her
head. No matter how far in the back-
ground she may be, that crane can find
her. Therefore, she must continually
keep in the mood of the character she is
playing for the camera may be fifteen
feet away from her one second and taking
a close-up of her the next. Every girl
knows the legend of Hollywood — that one
striking close-up might make her a star,
and every girl is prepared for the time
when her chance at fame will come. But
only once in a movie moon does such a
thing happen.
May Pick Out A New Star
To the left is the microphone. It, too,
is projected forward on a small crane of
its own and follows the camera, as you
see it doing in the picture, so that both
sound and action may be caught at the
same moment.
The men working the microphone ap-
paratus must be as alert as the men on
the crane. The mike must hang just
above the head of the person being
photographed.
In the foreground you'll discover, be-
sides Miriam Hopkins putting on the hot
cha-cha for William Collier, Jr., a little
platinum dizzy called Lyda Roberti.
(She is wearing the ostrich trimmed
dress.)
The director whispers that she is
knocking out a swell performance.
Off to the right, behind the floor
camera, is Al Hall, cutter; director David
Burton (with hat on), assistant director
Russel Mathews (in sweater, crouching),
Slavko Vorkapic, another assistant di-
rector; Karl Struss, head cameraman and
Howard Kelley, head electrician. Every
Photo by Stagg
detail of the scene is watched by these
men. Each is a specialist in his own line,
each divides the scene to suit his own
particular interest.
If you can find an incorrect detail,
your eyes are better than six pairs of the
sharpest in the business.
When you see the film there will be
flashes of the long-shots, interspersed by
close-ups.
And now that we've let you in on the
secret, you'll know exactly how the effect
was achieved.
73
By Cal
York
30 Gi
i
ris in a
STEP right this way, folks, and get your
dope sheets for the biggest race in Holly-
wood.
Look at them lined up there — all those
beautiful, glamorous, talented girls; all ex-
pecting the big trophy — stardom.
Cast your eyes over the thirty promising
young women who have a chance at the
sweepstakes. Just look at them. Pretty,
aren't they? High-spirited and eager. All
right, girls. "On your mark! Set! Go!"
Some will win their races; some will be left
at the post; others will be disqualified. But
wait a minute. Who'll decide? Who'll be
the judge?
Why, you, of course. You, the audience,
award the prizes by your approval or dis-
approval. Your word is final.
All we can do is to hand out the dope
sheets and maybe give you a few- inside tips.
But it's up to you to cry, "Winner!"
The Paramount dressing rooms are the
paddocks for two of the most promising
bets — Miriam Hopkins and Sylvia Sidney.
But over at M-G-M there's a favorite, too.
A little make-up table is awaiting Helen
Hayes' return from the New York stage.
She is already a legitimate star, but she
must make a few more pictures before she
can prove whether or not she's to be a real
star on the screen.
With two films only to her credit — "The
Sin of Madelon Claudet" and "Arrowsmith"
— she has played a beautiful, melancholy
tune upon a lot of heart strings. Not (in
the technical sense of the word) pretty, and
having already passed the thirty-year mark,
Helen has that rare combination of qualities
— piquancy, whimsy and the flare for pathos.
She has much that Janet Gaynor has and is a
more experienced actress. "Madelon Clau-
det'' was a box-office hit. If Helen Hayes
does not devote too much time to her be-
loved theater and if she is given roles as
suited to her rare ability as the little mother
in that film she will be on the last lap of the
race before three more Hollywood divorces.
A HOLLYWOOD sage remarked to me
recently, "Stardom comes, with a few-
exceptions, to those who give promise of
variety. Stars must give more than the
public expects and create a unique ex-
perience for the audience." With this in
mind it is easy to see why Miriam Hopkins
is a favorite on our dope sheet.
Remember "The Smiling Lieutenant" in
which she changed from a drab little sit-in-
tlu-corner to a startling buttertly flapper?
Ybu have seen her in "Dr. Jekyl'l and Mr.
Hyde" as the fascinating, seductive charmer;
in "Two Kinds of Women" as the sweet,
clean heroine and as the society girl in "Fast
and Loose."
Comedy or drama; tough ones or sweet
ones -Miriam Hopkins can play them with
a dynamic hint of hidden depths as yet
74
All Helen needs are
roles that suit her
Miriam is away out
ahead in the race
Sylvia gets the cream
of the story crop
The audience says,
"We like Madge!"
unrevealed. She is much more beautiful on
the screen than in real life, but she's a
dynamo on or off — changeable, exciting,
volatile. A fascinating little bit of tempera-
mental femininity who won't let anything —
not even a husband — interfere with her suc-
cess as an actress.
Incidentally, she has that rare knack of
playing up to her audiences. Marlene
Dietrich often makes the mistake of playing
down to them. She seems to say, "I'm
superior and different and I know it,''
whereas Miriam gives everything.
SYLVIA Sidney has already secured the
cream of the story crop and she's scheduled
for the best of this year's offerings. She has
always had big roles. I credit Sylvia's suc-
cess not only to her unusual, Oriental type
of beauty, her obvious dramatic depths and
her ability to offer variety, but also to her
off-screen personality.
Sylvia is one of those people who puts her-
self in the right spot and demands success.
She whistles and — presto! — there is success
barking at the door. She broke away from
routine when she fibbed her way out of
school. She wouldn't string along with the
rest of the herd but went out to tackle life,
single-handed, with any weapon which she
could snatch for the struggle. "An Ameri-
can Tragedy," "Ladies of the Big House,"
and "Street Scene" put her in the front line.
Now she is playing a society girl — something
the public doesn't expect of her — in "Jerry
and Joan."
But what if they would quit giving her
chances at big parts? Ah, my dears and
again, ah!
Yet I would stake my bank account —
both those dollars — on Miriam Hopkins and
Sylvia Sidney.
Let's see who comes next. Madge Evans,
Irene Dunne, Carole Lombard, Sally Kilers,
Jean Harlow, Sidney Fox. Marian Marsh,
Mae Clarke and Joan Blondell.
HERE'S a little tip on Madge. After the
preview of "Lovers Courageous" I lis-
tened in on a private conversation, as all
good tipsters do, and heard an elderly man
say, "I just love that girl."
His son answered, "So do I, Dad. She's
the kind I'd like to marry."
And the mother chimed in, "Well, I hope
you stick to the idea of marrying a girl like
Madge Evans, son."
When entire American families pull for an
actress she's pretty sure to be star material.
If Madge were just sweet, like Mary Brian,
that wouldn't hold true. If she were just
sophisticated, like Connie Bennett, she
wouldn't be liked by everybody. But she's
both and a darn good actress, to boot.
In addition she's pretty, wears clothes like
a Swanson and keeps her own counsel like a
Garbo.
ace for
She lives with her mother in a small
apartment which comes nicely within her
$500 weekly salary and studies hard. Madge
is not as dynamic as Miriam or Sylvia, nor
does she have the pathos of Helen Hayes,
but that determined little chin of hers is
pointing straight to a four figure salary.
It all depends upon the stories they give
Irene Dunne. If she could have "Cim-
arrons" all the time she'd be a present-day
Lillian Gish. Irene has charm, dramatic
ability and a beautiful singing voice. But
stories like "Consolation Marriage," which
could be played by any woman with charm,
will not lead her across the flag line.
IT'S strange about Carole Lombard. She's
the Constance Bennett screen type in
appearance and ability, and yet — here's a
little secret — exhibitors, who are the boys
who buy pictures for the theaters, are not
wasting any time crying for Lombard
pictures — yet.
Somehow she hasn't piqued the public
curiosity to date. Now, Connie's reputation
has been built by newspapers and maga-
zines. She's been front page copy since she
was old enough to say, "I won't," and I'll
bet those were the first words Connie lisped.
The Bennett hates newspaper reporters but
these newspaper boys and girls have stirred
the fires of the imagination of the people.
Carole has the same screen potentiali-
ties, but she's not front page copy. She
loved Bill Powell, married him and has kept on
loving him. She is not a spectacular person
off-screen, although she looks as if she might
have glamour. But glamour is largely de-
pendent upon a fantastic background which
Carole hasn't acquired — yet!
Sally Eilers is shrewd in business. While
she was out of pictures for so long, she learned
all the political tricks of the profession.
She's had some grand parts recenth —
"Bad Girl," "Over the Hill," "Dance
Team" and she has taken full advantage of
every one. When other companies were
making offers to her, she wisely remained
with Fox where her only real feminine com-
petition was an already well-established star,
Janet Gaynor.
Jean Harlow will be a star if she uses her
head for something besides a platinum rinse.
Publicity has given her a good start and now
she's learning to act. With Walter Huston
in "The Beast of the City" she shows rare
dramatic possibilities, but because she has
become so well known by virtue of her
figure and her platinum hair she wants to
run before she learns to walk. She is all
excited about herself and thinks she can
finish the race in one big hurdle. It's sel-
dom done in the picture business. If Jean
will make the most of every small oppor-
tunity, she will get what she wants. Other-
wise, she'll hit a rough spot on the race track
and take a tumble.
Carole needs to acquire
glamour — then . . .
Sally has had some
grand parts recently
Jean will be a star
if she uses her head
tard
om
Mae has dramatic stuff
that makes stars
Sidney Fox is dramatic, over-emotional,
potentially a fine actress. If they could
only photograph her as she really is with
that perfect complexion and figure — golly!
what a figure!
Sidney is a bundle of high strung nerves
and she has what race-track touts call a
"running heart," but she has not learned
self-control. "I won't do this and I will do
that," are phrases always on the tip of her
tongue. And the next day she realizes she
has made a mistake. But if you've seen
"Strictly Dishonorable" and "Nice Women"
you know she's very much in the running.
MAE CLARKE has improved so much in
the past year that you must give her a
good spot. A year ago we might have said
that her eyes were too close together; that she
had a bad walk and no clothes sense. The
trouble was that she had been an intimate
friend of Barbara Stanwyck for years and
everybody had said to her, "If you only had
Barbara's fire."
Today, Mae has the fire and has learned
how to dress. In "Frankenstein" she was
beautiful; in "The Impatient Virgin" she is
smart; in "Waterloo Bridge" she showed of
what dramatic stuff she is made.
Joan Blondell's reputation hangs upon a
wisecrack. Mr. and Mrs. Audience like her
when she appears with Jimmy Cagney in
those flip, gay little roles. She was excellent
in "The Greeks Had a Name for Them."
That's Joan's style — that's the sort of person
she, herself, is.
An ex-vaudeville trouper, the pet of
whatever set she happens to be on — and just
try to get ahead of Joan in a battle of wits.
Joan is a type, but so is Lilyan Tashman,
and her studio must realize that she should
stick to that type. In "Union Depot,"
when she had a straight dramatic lead, she
did not click so well.
Marian Marsh has had the Barrymore-
leading woman break. She shows great
promise. Only time and the breaks can
determine in what place she'll finish. In
"Under Eighteen," she was starred, but the
mere gesture of putting a name above the
title of the picture doesn't make a star. She
is still waiting to be judged by you.
NOW let's look at a few in list number two.
Wynne Gibson, Karen Morley, Frances
Dee, Una Merkel, Arlene Judge, Genevieve
Tobin, Dorothy Jordan, Anita Page, Leila
Hyams, Helen Twelvetrees, Marian Nixon
and Maureen O'Sullivan.
Little Wynne is going to get the leading
role in "Clara Deane," her first big break.
And here's another tip. The exhibitors are
howling for her in spite of the fact that she
has only had small parts. She's a vital little
thing, who says what she thinks, does as she
pleases and gives just that impression in
pictures. [ please turn to page 114 ]
75
Let's Shop With Adrienne
That Ames girl
shows you some
new fashion tricks
White with a color, a plain silk with a print —
that's the smart combination in this sports
dress of Adrienne's. Note the rough tex-
tured silk — it's new. Brown and white for
the dotted yoke and trick belt. All white
shoes are in again
Little-girl bibs for sophisticated grown-ups —
that's a new fashion whim which Adrienne
Ames endorses here. Her bib is red, white
and blue plaid — her dress a navy blue silk.
A nice blue hat with its red trim and tilted
brim, Adrienne
76
Photoplay Magazine for April, 1932
77
IWOl
r
nncesses or vjrreece
jPo/ids keeps ones skin lovely
SAYS H.R.H. PRINCESS MARINA
1 always use jPonds
r>9
SATS H.R.H. PRINCESS ELIZABETH
Yo,
H.R.II. Princess Marina (left) and H.R.H. Princess Elizabeth
(riglit) are lovely royal exiles — charming young favorites of exclusive
Paris society . . . their beautifully cared for skin is as smooth and as
exquisitely fine of texture as their perfectly matched Cartier pearls.
.our complexion can be as
beautiful as that of any royal
princess — if you follow Pond's
easy Method of home care.
"Truly the best and easiest
Method," says Her Royal
Highness Princess Elizabeth
of Greece . . . Her sister, H.R.H.
Princess Marina, says, "The
Two Creams, the Cleansing
Tissues and the Skin Freshener
keep one's skin lovely!"
Four simple steps assure
these four essentials of skin
care . . . Cleansing . . . Lubri-
cating . . . Stimulating . . .
Protecting:
1— Generously apply Pond's Cold
Cream several times during the
day and always after exposure.
Let the fine oils penetrate every
pore and float the dirt up to the
surface . . . Remove with Pond's
CleansingTissues, which are softer,
more absorbent. Get the new 25(4
box — half again as many Tissues!
2— Pat briskly with stimulating
Skin Freshener to tone and firm,
close and refine the pores.
3 — Always before you powder,
smooth on a dainty film of Pond's
Vanishing Cream, to protect your
skin and make the powder go on
evenly and last longer. Use this
exquisite Vanishing Cream wher-
ever you powder — arms, shoulders,
neck . . . and to keep your hands
soft and white.
4 — At bedtime, always repeat the
Cold Cream and Tissues cleansing
to remove the day's accumulation
of grime. Then smooth on a little
fresh Cold Cream to soften and
lubricate the skin and leave it on
overnight.
•
Send 1 0<ffor Pond's 4 Products
pond's extract company, dept. d; 114 Hudson street, new york citt
Name
Street-
City—
-State-
CopyriKbt, 1932, Pond's Extract Company
Tune in on Pond's Friday 9:30 P.M., E.S. T. Leo Reisman and his Orchestra and guest artist. WEAF and N.B.C. Network.
78
Photoplay Magazine fob April, 1932
BETTY GOMPSON
"I'm over 30," says this fascinating
screen star. "A young-looking skin is
absolutely necessary. I've used Lux
Toilet Soap for years."
Photoplay Magazine for April, 1932
79
Keep the glorious appeal
of YOUTH Screen Stars
know how
DON'T let birthdays frighten
you ! The screen and stage
stars laugh at them. These recent
pictures show why!
"No woman need fear added
years," says the lovely Betty Comp-
son, whose glorious young charm
wins hearts by the thousands on the
screen. "Stage and screen stars must
keep youthful charm, and they know
a young-looking skin is absolutely
essential."
The stage and screen stars have
found the way to keep their skin
smooth and fresh, year after year!
They use Lux Toilet Soap regularly.
9 out of io Screen
Stars use it
In Hollywood, youthful appeal
means success itself. Of the 694 im-
portant actresses there, including all
stars, 686 care for their skin with
Lux Toilet Soap. The stage stars, too,
overwhelmingly prefer this gentle,
fragrant white soap. Begin today to
let it care for your skin. Escape the
tyranny of birthdays — stay lovely,
appealing, as the screen stars do.
NANCE O'NEIL
"I'm over 45," says this lovely stage
and screen star. " A woman is as old as
she looks. I am among the scores of
Stars who use Lux Toilet Soap regularly."
Toilet Soap— lO*
sec.
IS I
16|
I ■
053
'jNEW YORK I
<? ft
■;i u u*°is v
"You'll have to make that speech over, Senator, some-
thing went wrong with the news reel microphone"
SO
Photoplay Magazine for April, 1932
81
'vurb Price, tltis loom Paste wovi its wcw vnto
tlte nxnvtes 07 the
Why is it that Listerine Tooth Paste is found in so many
homes of the wealthy?
Obviously the 25^ price could not appeal to a woman
who has her own box at the opera. Or to a man who takes
his family annually to Palm Beach.
Listerine Tooth Paste has won its way into their homes
simply on its merits. By the quality that the very name
Listerine guarantees. And by results that are clearly
apparent.
If you have not tried Listerine Tooth Paste do so now.
Note how thoroughly, how swiftly it cleans. Contained
in it are ultra-modern cleansing agents. Dissolved in saliva
they reach every surface of the tooth. Even penetrating
between teeth — removing tartar, decay, discolorations,
and stains.
Note the wonderful brilliance and luster that Listerine
Tooth Paste imparts to your teeth. Special polishing
agents, superfine in texture, produce this effect. Yet never
iite, LcuLCLe tube
once do they mar precious enamel.
Note, too, the pleasant taste and refreshing
feeling and mouth invigoration that follows
the use of Listerine Tooth Paste. That de-
lightful, clean feeling that you associate with
Listerine itself.
When we created Listerine Tooth Paste, it
was with the pledge to ourselves that it would
be exceptional in quality. That it would be
equal if not superior to dentifrices costing
much more. We have made no claims for it
except that it will cleanse teeth swiftly, thor-
oughly, and safely.
More than four million people who could
afford to pay more have found that this denti-
frice serves them best. Please try it. You be
the judge. Lambert Pharmacal Company, St.
Louis, Mo., U. S. A.
2.5 ceswU
A
SK THE
A
NSWER
M
AN
BANG I BANG! James Cagney shoots and
shoves his way to the top of this month's
mail ha;,'. Ever since he went into pictures
in June, 1930. he has been on the receiving
end of much praise for each new performance.
And now he is sitting on top, one of Warners'
besl box-office bets.
Jimmie was born on the lower East Side of
New York City, at 8th Street and Avenue D,
on July 17, 1904. He is 5 feet, 8 inches tall;
weighs about 145 pounds and lias greenish-
brown eyes and a mop of red hair. He went
through grammar school and began high
si tool, but had to go to work when the
family needed money.
IK- wrapped bundles in a New York depart-
ment store, then tried vaudeville and musical
comedy and finally landed in talkies. He now
has a long-term contract and a bright future.
His latest release is "Taxi," which broke box-
office records everywhere it played. His next
will be "The Crowd Roars." This will be
followed by "Winner Takes All," a story of
the prize-tight ring. Jimmie is married to
Frances Vernon, who was a dancer before she
became Mrs. Cagney.
Dorothy Dease, Kansas City, Mo. — You
guessed right, Dot. The Harry Barris who
appeared in "The Spirit of Notre Dame" is
the same chap who writes popular little ditties
in his spare time. Harry is a native of Xew
York City, where he sounded his first "a" on
November 24, 1905. He is 5 feet, 7 inches
tall; weighs 125 pounds and has brown hair
and hazel eyes. He was married to Loyce
Whiteman November 22, 1931. Harry re-
cently signed a contract with Educational
Pictures, so you'll be seeing him.
Coxxie of South Amboy, N. J. — Glad you
like the old Answer Man's page. Jimmie
Dunn first saw light on November 2, 1905;
Loretta Young on January 6, 1913; Anita
Page on August 4, 1910 and Mitzi Green on
October 22, 1920. Minna Gombell celebrates
her birthday on May 28, but you'll have to
guess how long that has been going on, cause
she won't tell me. Ruth Hall was the girl
in the bookstore scene in "Local Boy Makes
Good." She hails from Jacksonville, Fla., and
her real name is Ruth Hall Ibanez. She is
the great niece of Vicente Blasco Ibanez,
author of "The Four Horsemen of the Apoc-
alypse." Her next will be "Heart of New York."
Corixxe Clark, Jacksox Heights, N. Y.
— Yes, Eric Linden is still single. Eric was
born in New York, September 15, 1909. He
is 5 feet, 9 inches; weighs 150 pounds, has
brown hair, brown eyes. Entered pictures in
1931. His next will be "The Crowd Roars."
E. McD., Vancouver, B. C.— The lad you
liked so well in the role of Dr. Claudet in "The
Sin of Madelon Claudet" was Robert Young.
Robert is a native of Chicago, 111., is 6 feet
tall and has brown hair and brown eyes. You
will see him soon again in "The Wet Parade."
Greta Garbo's next picture will be "Grand
Hotel." Haven't space here to answer your
long list of questions. Send stamped return
envelope the next time.
E. M. Eraser, Boston, Mass. — Norma
Shearer's next picture will be Eugene O'Neill's
"Strange Interlude," taken from the stage play
that ran live hours each performance. Clark
Gable will be her leading man.
Nancy, Philadelphia, Penna. — Let me
straighten out that puzzle for you. Eleanor
Hunt played the role of 5a#y and Marian Marsh
played the role of Harriett Underwood in the
88
Read This Before As\ing Questions
Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
S gn sour full name and address. If you want a
Krsnnal reply, enclo:* a stamped, sea-addressed
envelope.
Casts and Addresses
As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always he sent. Address all inquiries
to Questions and Answers, Photoplay MAGAZINE,
221 W. 57th Si., New York City.
Jimmie ("tough guy") Cagney
was once an obscure dancer in
musical comedy. And now he
tops this month's mail bag!
picture "Whoopee." At that time Marian
was using the name of Marilyn Morgan for
screen purposes, her real name being Violet
Krauth. When she was signed by Warners to
play in "Svengali," they changed her name
to Marian Marsh.
Dorothy- Kuesters, Motley. N. J. — John
Breeden is a San Francisco lad. He was born
there on May 3, 1904. Is 5 feet, 1 1 inches tall;
weighs 150 pounds and has dark brown hair
and gray-green eyes. John appeared on the
stage in Germany. Austria and the U.S.A.
before signing for the talkiestln 1929. He has
appeared on the screen in "The Shannons of
Broadway.'- ■'The Beloved Bachelor."' and
"The False Madonna."' His next will be "Dan-
cers in the Dark." He was married to Kathryn
Kilbourne in December. 1929, and has a
daughter. Joan, born in October. 1931. Ruth
Taylor's little son was christened Henry, and
Shirley Mason's daughter Sheila.
Cherie, Paris, Fraxce. — So you think that
our American stars cannot stay married to one
person for more than a couple of year:-! Here's
where I prove that you are wrong. Jobyna
Ralston and Dick Arlen recently celebrated
their fifth anniversary. Yilma Banky and
Rod LaRocque will celebrate their fifth anni-
versary in June and Norma Shearer and
Irving Thalbcrg will celebrate their fifth this
September. Frances Ring has been Mrs.
Thomas Meighan since 1910. The Joe E.
Browns were married in 1915; the Jack Holts
in 1916; the Warner Baxters in 1917; Mary
1'ickford and Douglas Fairbanks in 1920; the
Edward G. Robinsons in 1925 and Lilyan
Tashman and Edmund Lowe in 1925. Now
what do you think?
Kith Bextel, Ji.itkrsonville, Ixd. —
Cyril Maude was the old grandfather in
"Grumpy." Lon Chaney had no part in that
picture.
C. E. W., Toledo, Ohio.— In "The Dawn
Patrol" Richard Barthelmess and Douglas
Fairbanks, Jr., did not play brothers. They
were just pals and fellow aviators. William
Janney was the chap who played the role of
Doug's kid brother. The cast of this picture
was entirely made up of men.
A. Barovero, Corixo, Italy. — Sony to
disappoint you, but Ann Harding did not do the
talking in the Italian version of "East Lynne."
Voices of Italian players were dubbed' in to
take the place of the voices of Ann, Clive
Brook and Conrad Nagel. Lots of funny
tricks done in talkies, eh?
Jaxet Sparkmax, Coatesville. Pexxa. —
Joe E. Brown was born in Holgate, Ohio, on
July 28, 1892. He is 5 feet, 9]/2 inches tall;
weighs 150 pounds and has brown hair and
blue eyes. Entered pictures in January, 1928.
Joe has been married since 1915. He has two
sons and one daughter. His daughter, Mary
Elizabeth Ann, who is just about eighteen
months old, seems bent on taking the spot-
light away from her daddy. Did you see
that cute picture of her in last month's
Photoplay? Joe's latest picture is "Fireman
Save My Child."
Robexa Larsox, Boise, Idaho. — Fredric
March played both Jckvll and Hyde in the
picture "Dr. Jekyll and Mr. Hyde." No
double was used. Clark Gable celebrated his
birthday on February 1. He was 31 years old.
His latest picture is "Poll}- of the Circus" with
Marion Da vies.
W. H. Hebler, Glexdale, L. I. — Paul
Lukas was born in Budapest, Hungary, on
May 26, 1S96. He is 6 feet, 2 inches' tall;
weighs 182 pounds and has dark brown hair
and gray eyes. Is married to Gizella Benes,
whom he calls Daisy 'cause it's easier to pro-
nounce. Paul was on the stage for fourteen
years before he tried the movies. He entered
pictures in Budapest, in 1918, and in America in
1927. His latest release is "Tomorrow and
Tomorrow" with Ruth Chatterton. His next
will be "Thunder Below", in which he plays
opposite Tallulah Bankhead.
Dot, Toroxto, Oxt., Cax. — Helen Chand-
ler is a native of Charleston, S. C. She is 5
feet, 3 inches tail; weighs 102 pounds and has
blonde hair and blue-gray eyes. She is
married to Cyril Hume, novelist. Reginald
Denny hails from Richmond, Surrey, England,
home town of Ronald Colman. Reggie is 41
wars old, 6 feet tall, weighs 176 pounds and
has light brown hair and blue eyes. Has been
married twice, and has two children. A
daughter by his first marriage and a son by
his second.
M. C. R., Portland, Ore. — The team of
Janet Gaynor and Charles Farrell are busy
on a new picture titled "Rebecca of Sunny-
brook Farm." Mary Pickford and Eugene
O'Brien did this for Paramount back in 1917.
Photoplay Magazine for April, 1932
83
ikockw Cot
!}r)c^ot/uy ?
\A/Lf de.UA , 9
imJ>-Cu (UruActrCt
b&Luive it
The girl they talked
t
about wm charming, but
A HOUSE PARTY— charming girls,
Dorothy especially. And yet . . .
"Weren't you shocked at Doro-
thy?" they whispered ... "I simply
couldn't believe it! Why does she
wear her underthings a second day?
Everybody perspires a little — and
it's so easy to offend."
HOW can she take such chances
with personal daintiness? Every
woman knows that underthings
constantly absorb perspiration acids
and odors. These become notice-
able to others before you yourself
are aware of them. Then those
cruel whispered comments! Don't
run the risk — put on fresh lingerie
each day. It is actually more impor-
tant than the daily bath.
Underthings absorb perspira-
tion. Avoid offending . . .
Protect daintiness this way:
It is so easy to wear fresh things every
day! For Lux is made to remove per-
spiration acids and odors completely,
yet saves colors and fabrics, keeps them
like new. And it takes only four minutes
or less. Follow this dainty habit — Lux
your underthings and stockings after
every wearing. Of course, anything safe
in water alone is just as safe in Lux.
2 Wash this 4-minute way:
One tablespoon of Lux does 1 day's un-
dies — stockings, too! Squeeze suds
through fabric, rinse twice, shake out.
2 Never rub with cake soap — it tends
to streak colors, weaken fabrics.
X Avoid ordinary soaps — cakes, pow-
ders, chips. These often contain harmful
alkali which robs silk of its life, weak-
ens, fades it. Lux has no harmful alkali.
LUX for undttthmgs-f^sthemUkenew
in spite of frequent washing
Cal York's Monthly Broadcast from Hollywood
'Mli I ROM PAGE 41
" W7IIAI"S tlu' uk"'1-" :i friend askL'(1 a Hol_
** lywood newspaper writer recently. "You
look all excited. "
"Well, look at this paper," the reporter
shouted in glee, "two brand new Hollywood
weddings in one week. That means I'll have-
two swell divorces to write up in less than a
year. "
A HOLLYWOOD writer repeats
Warner Baxter's story about the
actor who called his wife on the
phone.
"Hello, dear," he said, "I'm bring-
ing two guests home to dinner. Is it
okay?"
"Why yes, dear," replied the fem-
inine voice at the other end of the
wire.
The actor slammed down the
phone. "Can you beat it?" he
yelled. "Wrong number again."
A ND, according to printed tales, another
■*■ ""little blonde steps' right up and shows a
little of the same "business stupidity'' Connie
Bennett displayed with Warners and her S30,-
(XX) a week salary, income tax extra.
Now, it's Miriam Hopkins. When Miriam
signed her contract it was to make pictures in
Xew York. But when they decided Miss Hop-
kins should come to Hollywood, that little
Xew York matter came up. It seems Miss
Hopkins objected to going on " location. " So,
in order to soothe Miss Hopkins' irritation at
being on location in Hollywood, the company,
according to the story, very kindly pays the
rent of her house, her gas and light bill and
even her food.
And what a house it is. Even for "loca-
tion.'' Miriam has rented Garbo's former
home and every time she slings a party the
guests form in line to view the huge bed in
which Garbo slept.
And for this, they pay Miriam. Some gal.
"JWTANY strange missives find their
■*-"■ way to Hollywood but the one re-
ceived by the publicity department of
M-G-M studios, takes the biscuit.
"I am a writer for an Eastern news-
paper," it said, "and would like to in-
terview Greta Garbo. I have Mon-
day and Thursday evenings free,
from seven to nine. Please let me
know which evening Miss Garbo can
seeme." And they're not over it yet.
A GROUP of people were discussing a rather
*• unpopular character in Hollywood, the
other day. Bob Montgomery was the only
one who had a kind word for him.
"What's the matter with you?" a friend
asked Hob. "Why even Jackie Cooper says
what he thinks about people."
"Yes," Bob sighed, "if I had Jackie Cooper's
standing in this business, I would too. "
[ PLEASE TIRN To PAGE 86 ]
They Have Never Seen A Movie And Never Will
Till-; blind eyes of a score of sightless chil-
dren mirrored happiness when they be-
came active participants in the film-
ing of Radio Pictures' "Symphony of Six
Million."
Students of the Braille School in Los Angeles,
all have been sightless from birth. Their busy
little fingers felt the strange newness of cameras
and giant incandescent lights, and rested for a
moment in the comforting hand of Irene
Dunne.
The children were employed by Director
Gregory La Cava for the clinic scenes of this
84
poignant drama of the Xew York East Side,
written by Fannie Hurst.
It was the first contact any of them had with
motion pictures. A fantastic dream mirage be-
came an actuality for them — a thing they
could feel with those ever-questini; lingers.
carrying new and wonderful messages to their
minds.
Their thirst for knowledge in this form of
amusement forever denied them had its
moments of poignancy for Miss Dunne and
Ricardo Cortez, co-featured with her. To-
gether with La Cava, they guided the children
out of the eternal mystery of darkness and ex-
plained the romance and drama that lie in
motion pictures.
The youngsters wanted to know how the
cameras worked; why the cameras made slight
clicking noises when everything was supposed
to be quiet; how sound was recorded. Difficult
questions, asked earnestly, while their vacant
eyes focused, unblinking, into the great lamps
as though warmth and cheer came from that
source.
The children were natural actors and act-
resses, completely devoid of affectation.
Photoplay Magazine for April, 1932
85
" I like it "
This seal signifies that the composition of the
product has been submitted to the Council
on Dental Therapeutics of the American
Dental Association and that the claims
have been found acceptable to the Council.
I hope I'm a little different from
most girls in lots of ways. But I
know I'm just like most women
in this respect. I don't like to be
argued with. I don't like to be
preached to. And I won't be
frightened into things! I like
what I like. And I like a tooth-
paste with a clean, keen, refresh'
ing flavor. I like to know that
my dentist approves. And mine
does ! He says that all any tooth-
paste can do is clean teeth. And
no toothpaste can do that better
than Colgate's. So — I would just
like to know why I should pay
more than 25 cents for tooth-
paste ? That's all I have to pay
for Colgate's!
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PACE 84 ]
rT,III-\ according to a Hollywood writer, is
the true story of a carpet.
It seems that all the writers of a certain
major studio, were housed on the second floor
of a building that had no carpets.
And the hif^h powered writers, ranging in
salary up to $25,000, listened to footsteps be-
ginning at one end of the hare hall and ending
at the other, until they were ready for a
hospital with nerves.
Plea after plea was sent into the front office
for a carpet.
An>- kind of carpet.
But no attention was paid and the heavy
footsteps went on.
A month ago, the first floor was turned over
to the drafting department, who occasionally
looked upward as the footsteps sounded over-
head.
Finally, the foreman noticed them and sent
in a complaint to the front office.
Immediately a roll of carpet was rushed to
the second floor and the amazed and thor-
oughly awed writers came out to look and
marvel and then tiptoed back to their nooks.
A FLASH of time in Hollywood — and yet
it is a matter of years —
The opening of " Union Depot. '■ Crowds —
lights — excitement —
Mary and Doug enter the theater. A ripple
of applause from the milling fans — just a ripple.
A thunder of cheers — that rattles the play-
house. Mr. and Mrs. Clark Gable.
And not so long ago, for Mary and Doug, a
thunder of cheers —
"yOUXG, beautiful Marian Marsh sat just
in front of Mary and Doug, at the
premiere.
At intermission time, when Marian arose,
Mary's eyes followed her eagerly — a bit sadly.
"She's so pretty, "those near her heard Mary
murmur. "So young and so pretty! So pretty!"
There was wistfulness in Mary's voice.
It deeply touched those who heard it — and
perhaps added them to her devotees!
HOT news note from Lunnon, Eng-
land.
Over there Clark Gable and Greta
Garbo are co-starred in a picture
caUed "The Rise of Helga."
But don't fret, folks! We Amur-
rican fans aren't getting gypped. It's
just our old friend, "Susan Lenox,
Her Fall and Rise," retitled for the
Englishers!
r^f-ARK GABLE, the current holocaust and
^■''tornado, has one of the sanest, soundest out-
looks on pictures and people that Hollywood
has ever known.
His feet are on solid ground — not the quick-
sands of rapid success.
A writer sat in the Metro publicity office.
Gable came in, chatted a minute, left, pre-
sumably. "What do you think of him?" a
press-agent asked.
"Gable? A stuffed shirt!" answered the
writer. She looked up to see Clark standing
in the doorway, grinning broadly.
Didn't bother him. Not that boy! He has
the grand, old-fashioned idea that it's box-
office reports that tell the tale.
[ PLEASE TURN TO PAGE 92 ]
"Never trust the public, Ed — less clothes
or they'll think he's her husband"
86
M
Photoplay Magazine for April, 1932
87
ore searching than your mirror
...your husbands eyes'7
Over 20,000 beauty experts
for that reason insist that clients
keep skin radiantly young by
using an olive and palm oil soap.
Palmolive is the only large-selling
soap made of these oils.
IF ALL the women who seek to hold their
husbands would first hold their good
looks, editors of beauty columns wouldn't
get such a large mail . . . and there would
be greater chances for happiness." That's
the warning addressed to women by leading
beauty specialists.
Neither a great amount of time nor large
sums of money are necessary to keep look-
ing your best. But intelligent home care,
every day, is necessary. Don't think that
means hours of primping. It means the best
natural skin cleansing you can obtain. And
beauty experts are unanimous in their rec-
ommendation of Palmolive facial cleansing.
Two minutes. That's all it takes. A sim-
ple washing of face and throatwith the lather
of this olive and palm oils soap. Then, pow-
der, rouge, if you wish. But foundation
cleansing, first.
Won't you try this method, endorsed by
more than 20,000 experts, as the wisest step
toward keeping that schoolgirl complexion?
Use Palmolive . . . twice every day. . . faith-
fully. Then see what your mirror reveals.
See what your husband's eyes reveal.
Retail Price
IO
"When you are in doubt as to
the claims a soap mak.es, look
at the label. Can you tell -what's
in that soap? Then -why take
chances? Use Palmolive— -which
is recommended by those who
KNOW."
Carsten, Berlin's Distin-
guished Beauty Expert.
Two More Little Beauty Tricks
B
y
C
arolyn
Van
Wyck U -v
June Clyde knows another good eve-
ning ruse for the laughing girl. Rouge
the area of a dimple slightly heavier
than the cheek and deepen color at
the center. This emphasizes your
dimple. A cream rouge is ideal for
this purpose
That gadget that Frances Dee displays
is not a cigarette lighter but a highly
concentrated powder perfume flask.
It's a grand idea for your day or eve-
ning bag for it cannot break or spill.
Sprinkle the powder over the skin
and rub
HTHERE is much difference of opinion as to
*■ the beauty of the two Bennett sisters, Con-
stance and Joan. But to my mind Joan is far
the lovelier. Connie's corn-coloredhair,
brushed to the smoothness of a ribbon with a
fringe of flat curls close to her head, is beau-
tiful with a black velvet frock and a sight to
stir masculine hearts.
But I prefer Joan's taffy hair against the
whiteness of an ermine wrap. Constance's
beauty is just a little too icy; about Joan there
is a very warm and human quality.
T_r()LLY\YOOD knows how to use its rouge.
■*■ -Mil place of obviously colored cheeks those
girls get a radiance from their rouge that is
really marvelous. Maybe they follow the ad-
vice of the studio make-up man who advised
me, "Rouge your whole face.'' He really
meant it. The point is that if we use rouge
lightly and distribute it evenly, as a natural
flush would be distributed, then we will look
fresh and lovely and not merely rouged.
< toe safe rule to follow if we wish to confine
our color is: rouge only the cushion of the
cheek — not the full cheek. When you smile
this cushion or full part of your cheek stands
in high relief. Never rouge the hollows of the
cheek unless you wish to create a gaunt effect.
l_TELEN TWELVETREES* hair is abund-
■*■ -*-ant and so naturally curly that it is often
a nuisance.
In fact, she says it is so irrepressible that
when she has to wear a special coiffure she
must first use a lotion, such as neat little
school boys or gigolos use, to straighten out
her hair. Then she may put the wave or curl
where she likes.
88
When she is working on a set, her hair-
dresser dare not smooth her hair with a brush,
as this causes every strand to fly. Instead,
she uses a comb.
This is a good idea if you have hair like
Helen's.
In telling of her skin care, Miss Twelvetrees
mentioned a lotion or astringent containing
honey. Honey, either straight or in combina-
tion with other ingredients, is a marvelous as-
tringent and especially advisable for oil}' skin
or one with conspicuous pores.
After the use of cleansing cream and lotion,
apply a little honey to chin, cheeks, nose and
forehead. Pat lightly until the skin glows,
then remove with water or lotion. A honey
cream or lotion is just as effective.
Do these high-waisted styles,
these shallow hats, make the most
of your face and figure? If you're
not quite satisfied with yourself.
I have two friendly helps, a
booklet on reducing and a leaflet
on acne and blackheads. These,
as well as advice on skin, hair,
all beauty problems, are yours on
request. Don't forget to enclose
that self-addressed, stamped
envelope! Carolyn Van Wyck,
Photoplay, 221 West 57th Street,
New York City
Indeed, the ingredients of many well-known
preparations read like a well-stocked pantry —
eggs, honey, lettuce, almonds, or maybe you'd
like yours with chocolate and marshrnallow !
T THINK the cupids-bow mouth has been
-*- forgotten in Hollywood. If you will look
at recent photographs of Joan Crawford, Bar-
bara Stanwyck, Norma Shearer and a host of
others, you will see that each has forsaken this
old conception of beauty.
These stars rouge their lips along more nat-
ural lines, always accenting that under lip.
It does something to faces: adds a life-like
quality, a character and voluptuousness that
many faces lack.
One thing we never see in Hollywood — the
very thin Up.
ONE of the studio make-up men showed me
what happens to our faces after a day's
wear when we've been too busy to remove old
make-up and apply new. Actually, we always
look about ten shades darker and drabber,
don't we? That look isn't entirely due to the
day's dust and grime.
It's largely a matter of your powder mixing
with the skin's natural oil and thereby darken-
ing about one hundred per cent. Mix a little
powder with any cream and notice the color.
The best way to avoid that dark-brown, five
o'clock color is to choose a lighter tone in
powder. Be sure the shade is related to your
skin and use a little less generously, since the
lighter powder is more apparent. Avoid using
puffs that are clogged with old powder. Eresh
absorbent cotton makes the best temporary
puff there is, and it's easy to slip a fresh wad in
vour bag each morning.
Photoplay Magazine for April, 1932
89
Dramatize Your Beauty
LOR ETTA YOUNG,
First National Star and
.1/j.r Factor, Hollywood's
Mjke- Up Genius, using
Max Factor's Eyeshadow
Glorify Complexion Colorings
Give Eyes New Loveliness
Add Allure to Your Lips
. . . with the Magic of Hollywood's
Beauty Secret . . . Discover How!
By Florence Vondelle
TRAVEL to Hollywood with me . . . let's
discover the make-up secrets of the stars.
We'll go to Paramount in the heart of Hollywood
. . . then to M-G-M Studios, First National,
Warner Bros, and R.K.O . . . everywhere you'll
find a make-up used that means make-up perfection
in Hollywood ; a make-up that's beauty insurance
in every picture released — it's Max Factor's.
"What is this secret in Max Factor's Make-
Up?" you'll ask. "It must be the magic wand of
beauty, discovered at last." "Perhaps it is. Would
you, yourself, like to 'listen in' and learn the secret
of the screen stars? 'Yes'?. . . then let's go to Max
Factor's Make-Up Studios, and ask Max Factor."
As you are ushered thru theluxurious Louis 1 4th
salon, you thrill with the thought of the gor-
. geous stars who have preceded you . . . then in the
make-up analysis studio you face a battery of lights,
like on the motion picture sets. . .and mvriad re-
flections from an array of full mirrors dazzle you
for a moment. Quietly you're greeted by Max
Factor. ..and you welcome his kindly, understand-
ing smile. Now you know why stars place such
confidence in his genius . . . and you ask your ques-
tions unhesitatingly.
"The secret of beauty enhancement with make-
up lies in color tones of the cosmetics and the color
harmony of the make-up ensemble, "remarks Max
Factor. "Off-colors ruin the life-like effect and
detract from beauty. The different types in blondes,
brunettes, redheads and brownettes must have an
individual color harmony in make-up to bring out
personality as well as alluring beauty.
"Your every day make-up. .. powder, rouge,
lipstick, eyeshadow, must blend with your com-
Like Hollywood's Stars
_ with
3/ake-up
|p /// Color Harmony for Your Typt
JOAN BLOND ELL, 1st National Star and Max Factor,
Filmland's Wizard of Make- Up, using the correct color
harmony shade in Max Factor's Face Potvder.
plexion colorings. Look ! I will show you what
a miracle can be done with make-up."
You look at your mirrored reflection, entranced
. . . enraptured with your new beauty, charm, al-
lure. . .amazed at the transformation Max Factor
had deftly effected with your own Society Make-
Up color harmony ensemble. You understand
now why only Max Factor's satisfies the stars.
You are now invited to share Hollywood's
make-up secret. You personally
are offered a priceless beauty gift
by Hollywood's genius of make-
up... Your complexion analysis,
make-up color harmony chart
...and also copy of Max
Factor's book, "The New ^__
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Just mail the coupon! Dis-
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Now! TEST . . . FREE
The Face Powder Used
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MAIL THE COUPON
Beauty worth millions is insured with
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spotty, chalkv, talc-y, and off-color ef-
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in its caress of beauty.
MAXaFACTOR'S Society MAKE-UP
«36c
osmetics of the Stars irk HOLLYWOOD
1 of all make-up including Technicolor used by Hollywood's Screen Stars and Studios is Max Factor's.
(Lot Angeles Chamber of Commerce Statittics) © 1931 Max Factor
MINIATURE POWDER
COMPACT .... FREE
COURTESY COUPON
Max Factor — Max Factor Studios, Hollywood, Cat.
Please send me a copy of your 48-page illustrated book, "The New Ait of
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1-4-44
Cuy_
Fair D
Creamy . D
Medium. □
Ruddy....D
Olive D
EYES
Blue D
Grey— D
HazeLTJ
Brow^D
Blidt-.D
LASHES
Light.. D
Dak.. D
BLONDE
ght ODarkD
BRUNETTE
Light D DarkD
BROWNETTE
Light D Darin
REDHEAD
Light, a Darlc.D
Dry.....D
Oily ..D
UPS
Moist .O
Dry....D
Photoplay Magazine for April, 1932
91
Hollywood designers know the subtle power that lies
in a costume. They know that a part has to be
dressed as well as acted. The selection of materials is
important.
To adorn the vibrant personality of Dolores Del Rio,
in her new screen production, "Bird of Paradise", the
costume designers of RKO-Radio Pictures chose Silks
about whose quality there is never any question — the
Silks woven by William Skinner & Sons, at their mills
at Holyoke, Mass.
In speaking of the part played by materials, Gwen
Wakeling, costume director for RKO, says: — "There is a
great difference in fabrics, and no one knows it better
than the costume designer. The richness and softness
which I invariably find in Skinner weaves are of great
assistance to me in arriving at smart effects on the screen."
To identify these Silks, look for the name in the selvage.
Skinner's
Silks
Photoplay Magazine for April, 1932
INEXPENSIVE
SATISFYING
NEITHER CAMERA NOR MICROPHONE COH wait.
The results are immediate. That is, you "go
over" or you don't. That's why stars of the film
and air chew delicious double mint just before
the big moment — At once tense lines and vocal
chords relax. Try it yourself. • m-bs
Cal York's Monthly
Broadcast from
Hollywood
[ CONTINUED FROM PACE 86 ]
T"VD Greta Garbo really do that high-class
"^wiggle dance in "Mata Hari" — or did she
have a double?
Thousands of people have asked that ques-
tion— but why? Anyone can pick out the part
done by the double. Just compare the — er —
well, the rear view of the figure of the dancer
with that of the star. And if you can't detect
the difference — well, you're no true Garbo-
maniac, and are hereby read out of the
lodge !
Garbo's reputation for glumness was eased
by a recent crack she made on the "Grand
Hotel" set.
"Just walk hurriedly through this crowd of
people as though you wanted to get away,''
Director Goulding told her. "Want to re-
hearse it?"
"Oh no indeed" shrugged Greta. "I re-
hearsed it in New York all the time I was
there!"
•"THERE'S a little tragedy in Garbo's life
during the shooting of " Grand Hotel " ! For
the first time since "Flesh and the Devil" —
years back — Alma, her famous colored maid,
is not with her!
The girl's been seriously ill. And treatment?
A queen's! She's been in a big private rdom
at St. Vincent's Hospital, special nurses and
all — as good accommodations as the star her-
self would have.
And on the big set Garbo starts to call Alma's
name — remembers — and calls the substitute in
a hesitating, even sad voice. For Greta re-
members faithful, loving service!
/^\NE more charming little Garbo yarn, and
^■^ we'll let you off. It illustrates, none better,
the sweeter side of the Swedish star's nature.
Mary Carlisle plays a little bride in "Grand
Hotel. " Greta sent for her in costume, and
Mary shivered like a leaf. Garbo shook her
head.
"With your baby face you should have
softer clothes," said the star. "Go to the
wardrobe and tell them to put you in that
coat with the fur collar. "
Mary went, was dressed gorgeously, came
back to the set, and sat in a far corner. She
was afraid to go to the star for an opinion.
But the mountain came to Mahomet. Greta
came to Mary's corner.
"Better, much better!" said the great one.
"I like you!" And she smiled kindly — and
Mary will live happily for days on that bit of
kindness from a great star who had the gra-
ciousness to think of the welfare of a minor
actress!
AN actor was having still photo-
graphs made by a famous studio
photographer. When they had fin-
ished the actor said:
"I want some special retouching
on these. I even want the hairs re-
moved from my arms. Every one."
The photographer turned and
called to his assistant: "Please get
some lavender paper to print this
guy's pictures on!"
Photoplay Magazine for April, 1932
CAID Adolphe Menjou to a London news-
^paper reporter:
"Do you know, I dine out as little as pos-
sible. Silly, maybe, but I am trying to preserve
that behind-the-scenes illusion about myself. "
What ho, Adolphe? It isn't half so danger-
ous as not working steadily in pictures.
COMEONE in the M-G-M dining room has
^a swell sense of the ridiculous. A "Jackie
Cooper Special" sandwich merely consists of
two tenderloin steaks on toast, a fried tomato,
a fried onion in batter, French fried potatoes,
and lettuce, while a "Wally Beery Special" is
a wisp of watercress between knife-thin slices
of toasted whole wheat bread.
pOLA NEGRI and Albert Einstein, world
■*■ famous scientist, met at Palm Springs. When
Pola heard about the Einstein theory of the
expanding universe, she is said to have re-
marked :
"How long has this been going on?"
And when Herr Professor was informed that
Pola's salary ran into the hundreds of thou-
sands of dollars, he looked at her for a long
minute. Finally he cocked an eyebrow and said :
" So. And how long has this been going on?"
•"TODAY'S riddle — whose pictures make the
most money for Metro-Goldwyn-Mayer?
Sh ! We know your answer. You say " Gar-
bo's" right away.
But you're wrong again. When all the box-
office receipts are counted up, it is found that
the net profits from Marie Dressler's films are
the largest chalked up at that mighty studio.
The reason? Well, here's a guess. Garbo's
sophisticated talkies do enormous business in
the larger cities. But our hunch is that in the
small-town and country theaters the senti-
mental, homely movies turned out by Ma
Dressier simply clean up.
COMEONE took the time to check the popu-
larity of Garbo among box-office patrons and
discovered that seven out of ten women were
crazy about her while the men were less than
fifty per cent as enthusiastic.
On the other hand, Marlene Dietrich had a
higher percentage of admirers among men than
does Garbo — and less among women.
THAT rascal, Sid Skolsky, col-
umnist for the New York. Daily
News, whips over a fast one.
"In my Tintype of Lilyan Tash-
man I stated that she doesn't wear
one single garment under her eve-
ning gown. She's making a personal
appearance at the Paramount Thea-
ter this week, and changed gowns on
the stage behind a screen. A stage-
hand just wired in to say that the
statement in my Tintype was cor-
rect!"
As they say, Oops!
\X ARILYN MILLER is still going places
with Don Alvarado — another of those film
actors who seems to make no films. Mervyn Le
Roy, although not divorced from Edna Murphy,
is still seen with Ginger Rogers. Anita Page,
WITHOUT papa and mamma for thaperons,
is being escorted everywhere by her faithful
doctor friend. Little Joan Marsh and one of
the current heart-thumpers go about together.
Ricardo Cortez seems to look with favor on
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Director Clarence Brown.
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Photoplay Magazine for April, 1932
"T^vAXI II. (TI'ID has shot off another quiver
-*~Mull of red-hot arrows in Hollywood. He
has hit, ri^ht amidships —
Lowell Sherman's busted heart is fast mend-
ing, since Helene Costello walked out on him.
He caught sight of beautiful Ethelind Terry —
and since that moment life has no longer
stretched before him bleak, dreary — and girl-
less!
Loretta Young, whatever the reason, has
formed the habit of dropping into the Brown
Derby Restaurant for a spot of dinner with
Herb Somborn (Mr. Gloria Swanson No. 2).
Meanwhile her ex, Grant Withers, is making
personal appearances around New York, and
having one swell time with Peggy Joyce.
A N D if that card , Jack Oakie, hasn't switched
girl-friends again! Used to be Mary Brian,
for a steady — now it's a pretty brunette named
Helen Collins, niece of Austin Parker, ex-
Miriam Hopkins.
And Dorothy Jordan seems to have made up
her mind.
Looks as if the lucky youngster is Donald
Dillaway, now that Howard Hughes and Billie
Dove seem to have kissed and made up. We're
wrong.
They've busted again.
What a job, keeping track of Hollywood's
love-birds.
T IXDA WATKINS won't have to pay any
legal bills from now on. No sir, she married
a lawyer, Gabriel Hess, and says she's through
with pictures for quits.
Some folks were surprised and some just
nodded an " I told you so " when Colleen Moore
and Alfred Scott, a broker, were married in
Florida early, early one morning. Colleen had
known Al for a long time. In fact, right after
she got her divorce from John McCormick they
were reported engaged.
A S for babies — lawsy !
*■ Four assistant storks have been assigned
to the picture colony, just to help along with
Hollywood's latest fad — nay, mania!
If you haven't a youngster, aren't expecting
a youngster, or don't even hope to have one —
well, my dear, you're just not in the swim,
that's all!
And wouldn't his father be proud of this lad who wants to make a name for
himself and not trade on another's reputation! When Creighton Chaney
first applied for work at the studios they wanted him to change his name to
Lon Chaney, Jr., but the boy said, "Nix, Dad wouldn't have liked that."
So Creighton it stays and he's got a nice new contract with Radio Pictures
Photoplay Magazine for April, 1932
95
It probably began with the pride and joy of
Irving Thalberg and Norma Shearer. Then
came Esther Ralston Webb's little girl, Alice
Day's son, and Bebe and Ben's daughter.
Of course, Gorgeous Gloria Swanson and young
Michael Farmer are expecting a European stork
this spring.
And now listen!
Dorothy Mackaill — Madcap Dottie, of all
people! — and Husband Neil Miller proudly an-
nounce the hope, with good reason, of a son
and heir or heiress.
THERE'S a surprise connected
with the John Barrymore-Dolores
Costello baby, expected in June.
Everyone thought Jack would prac-
tically demand a son. He has two
daughters — one by Blanche Oelrich
and one by Dolo, little Dolores Ethel,
two years old this month. There has
not yet been a son to carry on the
great Barrymore name and acting
tradition.
And that, in the theater, is price-
less, particularly among such a tribe
as the Barrymores.
And what does Jack say? Namely,
that he's crazy about little girls, and
wouldn't mind another !
He'd rather like little Dolo to have
a sister.
And that, to old Uncle Cal, is the
shock of the season !
A NOTHER great day for Hollywood. Doug
■^*1 — papa Doug — has sailed away for the
South Seas.
Doug has another travelogue on the fire, and
all picturedom is agog.
On a bleak, rainy afternoon The Invader
slipped out of San Pedro, the Los Angeles har-
bor, for the open sea.
Old William (Bill to most of us) Farnum
joined at the last minute.
Raoul Walsh, great director, was broken
hearted because contract trouble held him up
at the pier.
Eddie Sutherland, the director, had his
toofies fixed rapidly so he could be a member
of the party.
And at the dock — well, Mary Pickford stood.
As the steamer became a wisp of smoke on the
horizon, she waved, and waved, and waved.
Y.7ELL, Ruth Chatterton is busy at War-
^^ ners — as busy as a couple of hives of bees.
"The First Lady of the Screen" — as we and
a couple of million others once dubbed her — is
at work on her new lot!
In her first picture, "The Rich Are Always
With Us," she has no less than twenty-one
changes of costume. Greer, the famous de-
signer, made them, and it meant a few odd
pennies for Greer.
Incidentally, Ruth ordered seventeen new
dresses for herself at the same time. And did
the designer cash in!
And as for the Hollywood gossip — they DO
say that Ruth and husband Ralph Forbes are
on the outs.
And Why?
Here's the way such stuff starts. Warners
rebuilt Colleen Moore's bungalow for Chatter-
ton. It's a sweet place — one might even say a
ducky place.
And Ruth is spending most of her time
there, day and night, while "The Rich Are
Always With Us" is being made.
Which accounts for the reason that the
Chatterton-Forbes separation rumors are now
rife.
A swel Girl
turned into a Crank
and back to a
THIS happened to her. It may happen
to you and me! Her skin lost its
clear radiance, and languished in dark
and sullen dullness. So did her spirit.
She became a crank!
No wonder — her whole system was be-
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Both her mind and body were depressed.
She never had realized that internal
cleanliness is essential to health. Her
cleanliness, externally, was exquisite. But
she had neglected internal cleanliness.
At length, on the advice of her physi-
cian, she began to use Sal Hepatica. Her
skin freed itself of sallowness and
blemishes. Its new peach-blossom
fairness echoed her childhood
*^
years. And she was again the laughing
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especially to make the complexion bril-
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.State.
"Bob says my hands are as pretty as they
were on my wedding day, two years ago.
My dishpan 'beauty treatment' with Lux
keeps them soft as silk and creamy white."
Mrs. Robert Halloran, Los Angeles, Cal.
i .
"Lux saves me time, saves me work. Those
tiny Lux diamonds dissolve like a flash. In
lukewarm water, too. Leave even greasy
dishes sparkling in no time at all. And the
big box of Lux does my family's dishes for
a whole month."
Mrs. James Dobbins, Long Island City, N. Y.
LUX
for dishes
Lovely hands
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Photoplay Magazine for April, 1932
A FEW months ago when Photoplay an-
■* Bounced that Gloria Swanson was going
to have another baby, we received hundreds
of letters asking how we knew. Photoplay
was the first to make the announcement.
And now Gloria in London has told inter-
\ iewers that it's true. She has always said that
she wanted another baby as a companion to
her own little Gloria and the small boy she
adopted.
TT seems to me we're always telling you about
the marvelous friendships that exist between
certain of the screen stars. And sometimes
we get sort of tired of it. There are some lusty
first-class hates in Hollywood if anybody should
ask you.
Connie Bennett and Lilyan Tashman. Both
have been called "the best dressed woman on
the screen. "
Tallulah Bankhead and Marlene Dietrich.
When these two were in New York each put
on the high manners with the other.
Dietrich confided that she "couldn't bear
Miss Bankhead," while Tallulah heaped the
old coals of fire by announcing, "Dietrich is
just too marvelous!"
Lupe Velez and Ina Claire. The reason for
j that one's easy to guess. The answer is —
I Jack Gilbert.
T_TERE all you young blades who want to be
•'■devils with women, take a tip from Holly-
wood's favorite beau — young Joel McCrea.
Joel has escorted Gloria Swanson, Dot Mac-
kaill, Constance Bennett and most of the other
high powered queens to all the best places.
Before Joan Crawford married Doug he used
to sit on the sink in Joan's kitchen and eat
green onions with her. Husbands trust him
with their wives.
Big stars simply must have him for their
leading man.
The secret of his success? Indifference, my
good man, indifference.
Joel doesn't chase after them. When they
like him he likes them. As simple as that — or
is it?
THAT Jimmy Durante — is there
no end to his smart cracks?
Not long ago he was having a va-
cation in a mountain resort when the
studio phoned him that he was
needed at once to begin work on a
new picture, and in order to get to
Hollywood on time he would have to
drive for sixteen hours without stop-
ping.
"Now say," nipped Durante, "you
wouldn't ask Garbo to do that, would
you?"
'""THAT lad Phil Holmes is one of the strangest
boys in Hollywood.
Maybe you've noticed that dazed look he
gets in some of his pictures.
Maybe you've noticed that occasionally he
j is like a man walking in his sleep. Well, in a
way he is walking in his sleep. He's tired —
dead dog tired.
He has worked in pictures for two solid years
without a vacation and with sometimes just
two days and sometimes just two minutes be-
tween pictures.
If you have ever ached with fatigue you will
understand why Phil Holmes sometimes ap-
pears dazed.
True enough Dick Arlen has worked as hard
as Phil and has made as many pictures — but
there is a difference in these two young men.
They work differently.
Phil acts purely emotionally. He gives all
of himself to his roles.
He cannot detach himself from his screen
characters.
He is as sensitive as a poet.
'"pHAT sprightly trade daily, The
■*■ Hollywood Reporter, vouches for
the fact that the other night Billy
Haines was entertaining in his new
apartment with his new butler serv-
ing.
When it came time for the coffee
the new servant asked the guests,
"Will you have large cups or D. T.'s?"
A XD in case anybody's interested in white
^canaries Billy Haines has one.
TyiLLIAM POWELL has taken a right
" about face! Supposed to be among the
most difficult to handle at Paramount, he is
making himself the most affable at First Na-
tional.
If anyone had told a Paramount executive
that Bill would consent to be master of cere-
monies, or make a public appearance for them
— he'd have had apoplexy.
But when Zanuck asked Bill to officiate at
the opening of one of their local theaters, he
said he'd be scared to death, but he'd do his
best!
And he takes still pictures by the hour with-
out the least remonstrance.
And doesn't tell the directors what to do
with his pictures!
ONE year ago Harold Lloyd Jr. ar-
rived in this world weighing just
two pounds and fourteen ounces. For
days he lay in a hospital incubator
with an even chance of living.
Well, that same little Harold Jr.
has just celebrated his first birthday,
a fat chubby person, thirty-two inches
tall and, according to his dad, eats
like a truck driver. Little "Bud" as
he's been nicknamed, shared his
one candle, pink frosted cake, with
Peggy and Gloria Lloyd, his two sis-
ters.
T5EOPLE are always wondering how Joan
Crawford keeps that beautiful figure.
"Must starve herself to death!" they say.
It isn't so.
Joan eats modestly enough, but a starvation
diet is no part of her life.
But listen!
She's a bicycle fiend! Every day, when
able, she wheels through the Brentwood hills,
and a horde of little girls cycle with her, for
company.
Does that answer the question of slim hips —
and those superb legs?
Meadows! My bicycle.
OPENCER TRACY came limping
d
across the Fox lot the other day.
The entire studio kept attaching
various reasons to Spence's limp.
Finally he met Frank Borzage.
"What really did happen, Spence?"
Borzage asked.
"Well, if you must know," Tracy
replied, "I tripped over the wolf when
I came out the door this morning."
T OIS MORAN is scoring a tremendous stage
-'-'hit in "Of Thee I Sing," the current musical
comedy smash on Broadway, with George Ger-
shwin music.
Photoplay Magazine for April, 1932
97
The world's fastest traveling cross-
country bride. Married to Rudy
Vallee less than a year, Fay Webb has
made three trips from New York to
California to see mama and papa.
And every time she steps on the train
both she and Rudy croon the same
ditty, "This doesn't mean a divorce.
It's just because Fay's health is too
bad to stand New York winters"
Lois looks lovely, acts nicely, dances beau-
tifully and sings in a very small, very sweet
voice. People like her. But that's only half
the story.
Behind the successful figure of Lois stands
Mrs. Gladys Moran — guard and guide and
friend, and creator of Lois' career. No more
marvelous figure of a stage mother ever lived
— not even the amazing mother of Elsie Janis.
She is short, blue eyed, smiling, patient. She
signed all Lois' picture contracts. She in-
vested some of daughter's savings in a smart
Beverly Hills sport shop. She studied the
stock market — and when it broke and col-
lapsed, was ready to sell short. Wall Street
brokers respect Mother Moran as a smart
trader.
Lois Moran today is very rich, almost a
millionaire — thanks to the smart, smiling Mrs.
Gladys Moran. And when her stage run is
over, it's dollars to sinkers that she will go
back to Hollywood and big dramatic parts.
Mother will see to that. "Mother knows
best!"
YWALTER WIXCHELL tells a pretty cute
story about the time that Bolton Mal-
lory took his wife, Nancy Carroll, back to
Omaha to see the home folks. Seems that
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Photoplay Magazine for April, 1932
everybody kept calling up and wanting to talk
to the star.
At about the twenty-fifth call Mallory had
taken for Nancy someone said, "Is this the
Imperial Garage?"
"No," bellowed Bolton, "but don't hang up.
I want to talk to somebody."
T_Ti;DDA HOPPER has decided that playing
the Hollywood social game gets her just
exactly nowhere on the screen. The trouble is
that when you make friends with a director you
can't argue with him.
Hedda wanted the role that Irene Rich
played in " Five and Ten." She went to her
friend, Director Bob Leonard, and begged for
the part.
"But ycu don't look like a small-town mer-
chant's wife," he said.
Hedda was born in Hollidaysburg, Pennsyl-
vania,and spentmost of her lifein Altoona. She
is really a small-town girl but she didn't say so
because she figured that Bob was a pal and she
couldn't tell a pal he was wrong.
So Hedda has decided to give up the drawing
room for the vaudeville dressing room.
"Social contacts are a lot of bunk," Hedda
thinks.
She's going to have a flyer in vaudeville and
try to get back her professional standing that
way.
T\7ELL, well, but George Brent (Warner
^^ Bros.' new hope for the Gable throne!) is
surely getting initiated to movie life with a
vengeance.
He's been playing opposite Ruth Chatterton
and Barbara Stanwyck at the same time —
running from one set to the other.
In his excitement to do two parts well and at
the same time, he got a bit upset on the "So
AAAA to EEE
Combination Lasts
Assuring Perfect Fit
Big"-Stanwyck set the other morning and
backed right up against the salamander. That
is the stove with which they heat stages.
His trousers, the seat, if you please, caught
fire.
And for a mon ent it looked as if two ladies
were going to be out a leading man.
They put the fire out. It burned right
through, but that was only a small part of the
worry.
George was able to go on — but the pants.
It was a brand new suit made especially for
the picture.
They shot other scenes until they could dupli-
cate them.
T\ 7HAT? Our own Ronald Colman ar-
rested? And in war-torn Shanghai, of all
places.
Ronald, it seems, went out for a quiet stroll
along the streets of Shanghai where he's visit-
ing, when things were happening, only to be
seized by local police and dragged to head-
quarters.
Ronald didn't know it, of course, but he was
violating an emergency order forbidding
civilians to be on the streets between ten p. m.
and four A. II.
After warning Ronald not to commit the
same offense again, they let him go.
/""^OMICAL signs are eternal, and
^common, yet we can't resist re-
tailing the one seen on a Hollywood
theater.
It says —
"Two Kinds of Women —
"Miriam Hopkins and Phillips
Holmes."
Write your own ticket. It's funny
or it isn't — as you choose !
International
"I'm through with men!" said Helene Costello with a defiant look at the
cameraman, who packed up his little grafiex and fled right after this picture
was snapped. "Oh, pooh!" answered sister Dolores Costello (Mrs. Jack)
Barrymore. "Some day you'll find a man as nice as my Jack and you'll
forget all that." But Helene, following her separation from Lowell Sher-
man, sailed away for France and England. Dolores and Jack, you know,
are expecting another little Barrymore
Photoplay Magazine for April, 1932
TNSIDE stuff!
■*■ Although Bebe Daniels still has one more
picture on her contract at First National, it's
fifty to one she'll never make it.
The studio has been trying to buy up her
contract and we understand they'll let it lapse
if she doesn't take the offer.
A HOLLYWOOD wit tells this
■**■ one. Sam Mintz, part author of
"Skippy," met an independent pro-
ducer on the street soon after the re-
lease of that picture.
"Sam," the producer said very
confidentially, "I want you to write
'Skippy' for me."
"Why, it's been done," Mintz re-
plied.
"I know, I know," the producer
said impatiently, "but not with a girl
it hasn't been done."
pEGGY SHANNON, that red-haired beauty,
was tabbed by Paramount as Clara Bow's
successor. So was Sylvia Sidney, but Sylvia
disappeared into dramatic roles, leaving the
hotsy-totsy parts to Peggy. But what hap-
pened to her? Where has she gone, and why?
She says it's bad roles — that Paramount
gave her inconsequential parts in silly pictures,
such as mere bits in ''The Road to Reno" and
"Touchdown." She may say that Sylvia
Sidney got all the breaks, and she got none,
except bad ones.
Paramount says something else. The com-
pany claims that Peggy was hard to handle —
that she ranted and squawked too much about
her parts — openly accused executives of play-
ing favorites.
A XD the result? Peggy Shannon, with a
^ ^great chance, was "sold down the river."
That is, she was loaned to other companies
whenever possible. Tiffany borrowed her for
"Hotel Continental."
And then came a magnificent break — the
sort that could only happen in filmland !
Fox began a still hunt for personalities.
Peggy wanted her release from Paramount and
got it. Fox gave her a test. It was great!
Now she has another chance with the Fox
crowd — a grand one. If she gets good stories,
able direction, and doesn't run around with a
chip on her shoulder — maybe we'll hear more,
and much, of Peggy Shannon, the lovely red-
head who had a great opportunity — and
muffed it!
'T^HE winter brought a flu epidemic
■*• to California. So bad that Metro-
Goldwyn-Mayer established gar-
gling machines on every set and in
every office. Every actor and actress
was requested to use the gargle to
stop the spread of the disease.
All except Garbo ! Not a soul said
a word about it to her. And she did
not have influenza !
Y\ TELL, George Bancroft went tempera-
** mental again during the making of "The
World and the Flesh."
In fact, he announced that Director John
Cromwell was trying to take "the Bancroft out
of Bancroft," and walked out of the picture.
George, who has been a goody-goody since
his last trouble with Paramount, went to a
lawyer. But Paramount calmly chose Charles
Bickford for the role — and George, when he
heard that, just as calmly went back to
work.
Temperament is out of date in Hollywood!
r
99
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Style 21 83.. 1.95 Style 2073. .1.65
Style 1963.. 1.35
ROLLINS LACE TOP CHIFFONS
1.00
5050
Featured in five popular-
priced groups
1.35 1.50 1.65
1.95
SPECIMENS of Point de Gaze copied
from the treasures of a Flemish lady
at Ghent. Appliques on net sketched at
the Youghal convent in Ireland. Real
Alencon Point procured from the needle-
workers at Bayeux, France . . . such are
the sources exploited by Rollins design-
ers in adapting lace to Rollins Hosiery.
Originators of the lace idea in fine silk
stockings, Rollins continues to introduce
new lace tops and all-over laces to
make the Rollins collection of lace ho-
siery even more complete.
The latest excitement for Spring is a
quartet of filmy filets — styles 21 53, 2163,
2033 and 2243 — simulating the patterns
of Argentella Point. Each a worthy con-
tribution to the Rollins Renaissance of
Lace.
Practical, too, despite their laciness and
sheerness. Because the lacy stitches are
looped and lockstitched to resist snag-
ging. And the genuine Runstop, identi-
fied as a dainty red line at the hem is
positive protection against garter runs.
C NEW SPRING COLORS by Rollins
including Vanity, Sandwhite, Tendresse
and Sunbeige are accurately coordi-
nated with the colors of Spring fabrics.
ROLLINS HOSIERY MILLS, INC.
New York ' Chicago ' Des Moines ' San Francisco
K\JrASto|>
/Hosiery
AT LEADING DEPARTMENT STORES AND SPECIALTY SHOPS
loo Photoplay Magazine for April, 1932
H* LA-M1M TTol.I.YVVOOD'SgossipscallGeorgeO'Brien
6l6 S Q DCQUTy™ L -1- The boy who always falls in love with his
leading woman."
And Conchita Montenegro, who played op-
posite him in "The Gay Caballero,'' was no ex-
ception.
Everyone thought this was True Love — for
ever and ever and ever. But George set out
on a trip to China, and Conchita hopped a
plane for New York and a stage show.
And Hollywood's romantic souls sighed
a deep sigh. Always disappointed.
"Just another one of those things!*' they
said, and went back to their knitting, or their
cocktail shaking.
bargain: the
LUXOfl
SPECIAL
a whole beauty-
treatment for
Lu
xor,
A XD here's another Barrymore story some-
body remembers.
When John, Ethel and Lionel were little kids
they came to the theater during rehearsal to
visit their father. Unable to leave at lunch
time he gave each of the children fifty cents for
their lunch. And Barrymore like, they went to
Delmonicos, the most expensive place in town.
In vain they searched the menu for something
that could be bought for fifty cents. At last a
I waiter tottered by carrying a huge tray of
' French pastries. "How much are those," John
asked. "Fifty cents, sir," the waiter replied-
"Fine," John said, "bring on three trays.
This is the place to come," John said with his
mouth full of pastry.
And a half hour later their father was
quickly summoned to the restaurant. They
had consumed exactly thirty dollars worth of
pastry among them, never dreaming their fifty
cents didn't buy the tray full.
TX7ELL, Wally Beery is a real
v " daddy now and no mistake !
The Beerys recently adopted a baby
girl.
A visitor happened out to Wally's
house the other day and there was
Wally folding and pinning a diaper
on the baby !
And, "Look," Wally said to his
speechless friend, "the proper way
to do this is to fold it square and pin
it on the side."
And there you have movies' favor-
ite bad man!
JOAN BEXXETT has been one of the busiest
girls in Hollywood recently.
In the first place, every one in town has been
We extend the privilege of the "Luxor
Special" again! The combination package
containing a full'size 50c box of Luxor face'
powder . . . and a free cake of our 25c Cold
Cream Facial Soap ... all for 50c !
When you first pat on the Luxor face'
powder, you just notice its fine texture, its
delicate fragrance. But after a moment you
find with delight that all your skin seems to
be transformed . . . that it's smooth as satin,
soft, and radiantly fresh. That's because this
"powder that is pure" is sifted to marvelous
fineness through layers of silk.
Ask your dealer for the "Luxor Special."
Remember — a full box of the powder, and a
free cake of our bland, mild complexion-soap.
A whole beauty- treatment — the cost, 50c!
And ask for it soon — sgZ-zx?
the supply of "Specials" CL'i&r*
is necessarily limited. >^-.~ —
• Luxor, Ltd., 1355 W. 31st St., Chicago.
I enclose ten cents for a generous sample of the
ftcc-powder. Check Rachel, Flesh, White.
pre
y^iime
Address
.State.
Citv
And may all your children be acrobats — which in this case, Tom, isn't the
old trouper's curse. Here is the first picture of Tom Mix and his new
bride, taken after their marriage in Mexicali. She was Mabel Ward, a
famous aerialist in Tom's circus — you know her, hanging on with one arm
at the top of the big tent. Now she says she's going to hang onto Tom —
and Photoplay wishes them both a ten- gallon hat full of happiness
Photoplay Magazine for April, 1932
IOI
anxious to see that unusual star sapphire which
Gene Markey gave her for an engagement ring.
It's almost navy blue, set with small pearls.
Any one with even a speaking acquaintance
has tried to see her on one excuse or another.
Then, there was that business of joining a
church before she got married. Taking the
vows of her new husband's religion.
And on top of that, being made honorary
colonel of the 347th Field Artillery — the red
tape of going through signing of papers, both
federal and state; being fitted for a uniform;
arranging to attend the military dinner in her
honor. And, just incidentally, getting ready
for her wedding!
In between, Joan went to a party.
Another guest remarked; "Goodness, but
Joan is snooty. She won't talk to anyone but
her own little clique. "
A member of that "clique" answered, "If
you had as much on your mind, you'd be pre-
occupied, too."
Both were right, judging from Joan's record.
ANEW Gable yarn!
Some one remarked on the
gray hair Clark wears for his role of
the doctor in "Strange Interlude."
"Swell wig, Clark," the friend said.
"Wig," Clark growled, "that's no
wig. I saw myself in 'Polly of the
Circus' last night and my hair turned
white overnight."
A FTER making New York, Los Angeles and
various other cities sit up and take notice
of her extraordinary talent in the concert field,
Doris Kenyon is back in Hollywood, and start-
ing " Young America" for Fox. It looked for
a time as if Doris was to be lost to pictures.
Newspaper reports were wildly enthusiastic
over her concert work, which combines much
of the artistry of Yvette Gilbert and Raquel
Meller. She has never been more beautiful
than now, and her concert triumphs should
add considerable poise and depth to her
future screen work.
""THAT exciting new book, "The Life of
•^ Jackie Cooper," by his mother, Mrs.
Mabel Cooper, will soon be on the book stands.
Even though Jackie's a mere child, he's had
enough excitement and trouble packed into his
life to satisfy many adults.
Cold hotel rooms, draughty stage wings, mis-
erable boarding houses, long uncomfortable
train rides, were the fate of a lonely little
Jackie while accompanying his mother on her
vaudeville tours.
All these and more Mrs. Cooper tells in her
book. And what a difference just a few years
and a stroke of luck can bring!
There isn't a child more feted, more famous
than the same little fellow who, just a few
years ago, trudged his weary way through mud
and slush to wait for "Mummy" in theater
wings.
A ND from now on the Greta will be dropped
vand it will appear on billboards and
theater marquees as just plain "Garbo."
TPON their recent trip to New
^ York, June Collyer and Stuart
Erwin stayed with June's parents in
their Park Avenue apartment.
Somebody asked Dad where the
children were stopping. He chuckled,
"Both these children are Scotch.
Where do you suppose they are stop-
ping?"
In response
MARLBO
F,
150 PRIZES
FIRST PRIZE
$100*
SECOND PRIZE
$75*
THIRD PRIZE
$50*
FOURTH PRIZE
$25*
5th to 19th
PRIZES
k*
20th to 39th
PRIZES
■loih to ir.oiii
PRIZES
A Special Library
Package 100 Marl-
boro Ivory
request, Philip Morris announces a Third Contest
S FOR DISTINGUISHED HANDWRITING
jontestants; and, maybe, a million friends
joyed the natural association between
ndwritingand America's finest cigarette.
Once again we are happy to offer for
the most distinguished handwriting
"500 i„ Cash
(150 Prizes)
NO cost to enter this contest.
There are no strings. No
conditions. Simply write in
your own hand: Marlboro —
America's Finest Cigarette.
SEND AS MANY examples as you wish.
Each will be considered separately, solely on
its own merit. In case of any ties, duplicate
prizes will be awarded.
CLOSING DATE — Contest closes mid-
night, Sunday, July 31, 1932.
JUDGES— R. M. Ellis, L. B. McKitterick and
M. J. Sheridan, of Philip Morris, Nadya
Olyanova, Graphologist and K. M. Goode, Ad-
vertising advisor, will' be judges. Their
decision final.
WINNERS to be reproduced. Especially
distinguished handwriting and, where available,
portraits of winners, will be selected for publi-
cation in society magazines. No payments or
fees, beyond prizes. We regret we cannot re-
turn samples nor undertake correspondence.
* DOUBLE PRIZES to Marlboro smokers.
Anyone is eligible to win any prize. Believ-
ing, nevertheless, the cultured good taste
which awakens an instinctive preference for
Marlboros will reveal itself in the handwriting
of Marlboro smokers, we offer in each and
every case to double the prize when, as, and
if, the winning answer is written on, or
accompanied by, the front wrapper from a
package of Marlboros.
Marlboro — Plain or Ivory Tipped.
Successful cigarette of successful
men. And smart women. Don't
delay your try at double prizes.
Send your distinguished hand-
writing to Philip Morris & Com-
pany, 119-C Fifth Avenue,
New York City
Always V f Mild as May } *V^ , . Wrapped
fresh . . — " — "^^^ — in heavy foil
PI. AIM OR IVORY TIPPED
102
What is the
doctor's
opinion of your
laxative?
Photoplay Magazine for April, 1932
X_JK had been friendly with her before
Hollywood flattered him into forgetting
her and his other pals. He remembered her
when Hollywood, after a short and merry
whirl, forgot him along with hundreds of other
potential male stars.
Then he met her on Hollywood Boulevard
and to her astonishment fairly gushed over
her. The gushing led to a rushing: "Do you
know, I need five hundred dollars as nobody
ever needed live hundred dollars," he said.
She smiled.
"Really? Well, let me know where you
get the five hundred dollars. I could use it
myself. Toodle-oo."
She hasn't seen him since.
Iou wouldn't dare take medicine from a
bottle without a label. Yet so many people dose
themselves with wrong laxatives, regularly,
without knowing what their action is.
There are many laxatives — some not good
for you — some inviting after-effects that more
than nullify the temporary relief they bring.
Your doctor will tell you that more impor-
tant than mere results is how a laxative works.
Follow the Doctor's advice
Ask the doctor about the laxative you are tak-
ing. You will find that the medical profession
has a definite code of standards for a laxative.
A laxative, says the doctor, should be safe,
and gentle in its action. It shouldn't gripe. It
shouldn't be absorbed by the system. It
shouldn't disturb digestion.
A laxative should not overstimulate the in-
testines— thus weakening the natural functions.
It shouldn't be habit-forming.
Here's one laxative that checks on every
point the doctor looks for — it's Ex-Lax.
Ex-Lax acts as Nature acts
Ex-Lax is safe, effective — pleasant. It tastes
like chocolate. Yet it contains that scientific
laxative — phenolphthalein — in just the right
quality, the right proportion, the right dose.
Gently, yet thoroughly, Ex-Lax stimulates
the bowels to normal, healthful action. It
doesn't "whip" the intestines — it stimulates
them! It simply helps Nature to help you.
Take Ex-Lax tonight! Results will delight
you. Ex-Lax is ideal for children as well as for
grown-ups.
At all drug stores in ioc, 25c, 50c sizes. Or
mail the coupon below for a free sample.
Iveep "regular" with
EX- LAX
— the safe laxative
that tastes like chocolate
MAIL THIS COUPON— TODAY!
EX-LAX Inc.. P. O. Box 170
Tunes-Plaza Station, Brooklyn, N. Y. A 42
Please senj free sample of Ex-Lax.
Name „ „
Address _
A CCORDINO to Variety Spencer Tracy,
who is a father, has been taking little
Dickie Moore to lunch a lot during the mak-
ing of "Disorderly Conduct," and, knowing
what kids should eat, always ordered a veg-
etable plate for Dickie.
But finally the kid got to refusing the lunch
dates.
Tracy asked what was the trouble. "Well,
you see," Dickie replied, "I gotta eat spinach
at home."
T^ASU PITTS— the greatest and
most famous unstarred actress in
Hollywood's history — is divorcing
Tom Gallery.
Who's he? An ex-actor, a fight
promoter, etc.
And she?
The mightiest picture saver and
stealer in film history.
And this brings to mind the fact
that Barbara La Marr's son, whom
ZaSu adopted at the time of Bab's
death, is now nine years old. And so
is ZaSu's own daughter.
Never mind, ZaSu!
The time will come when filmland
will erect a monument to you, sweet-
est of mothers, kindest of friends.
Photoplay's
Treasure Hunt
Read the rules carefully
before hunting words
1. Thirty-three cash prizes will be paid
by Photoplay Magazine, as follows:
First Prize $200.00
Second Prize 100.00
Third Prize 50.00
Thirty Prizes of $5.00 Each 150.00
2. In this issue Photoplay Magazine
has designated throughout the editorial
pages in blackface type sixty words.
When fifty of these words are assembled
thev tell a little tale of picture people.
S500.00 in prizes, as specified in rule
No. 1, will be paid to the persons sending
in the nearest correct story from these
fifty assembled words.
3. Solutions are to be written on one
side of the paper only. The full name and
correct address of the contestant should
be written or typewritten on the same
sheet of paper as the solution.
4. You do not need to be a subscriber
or reader of Photoplay Magazine to par-
ticipate in this Treasure Hunt. You do
not have to buy a single issue. Copies of
Photoplay Magazine, from which the
words can be copied, may be examined at
the New York and Chicago offices of the
publication, or at public libraries, free of
charge.
5. The judges will be a committee of
members of Photoplay Magazine's staff.
Their decision will be final. Xo relatives
or members of the household of anyone
connected with this publication can sub-
mit solutions. Otherwise, the contest is
open to everyone, everywhere.
6. In the case of ties for any of the
prizes offered the full amount of the prize
tied for will be given to each tying con-
testant. Neatness in submitting solutions
will be considered in awarding prizes.
7. The April issue contest will close at
Midnight. May 5. .Ml solutions received
to the moment of Midnight, May 5, will
be considered. No responsibility in the
matter of mail delays or losses will rest
with Photoplay Magazine. The prize
winners will be announced in the July
issue of Photoplay Magazine, which goes
on sale on or about June 15. No solutions
will be returned.
8. All solutions are to be sent to
TREASURE HUNT EDITORS, Photo-
play Magazine, 919 N. Michigan Ave.,
Chicago, 111.
Fhotoplay Magazine for April, 1932
103
"Y"ESSIR, Garbo wears her own mink coat —
•*■ the one in which she wrapped herself when
she was avoiding New York reporters — in
"Grand Hotel." It's the first time she has
worn any of her own togs in a picture.
TACK HOLT, who usually plays rough and
' ready characters and hard ridin' cow punchers
on the screen, is one of the old Virginney Holts,
suh, and is proud of it. What's more his
Colonial house is furnished throughout in gen-
uine antiques.
As a matter of fact, Jack is a complete
paradox. A man's man, a cow boy, a one
time civil engineer and once an engineer on
a New York subway, he is one of the most
sartorially perfect gents in Hollywood and is
a beautiful dancer. And he loves to dance
and play the gallant in smart drawing rooms.
Yet for all his love of nice clothes (and he's
as handsome a figure as you'll want to see in
full dress) he hates a shirt and, in the daytime,
invariably wears a sweater instead of a shirt,
with a silk scarf around his neck.
AND still they come, these foreign beauties.
^Out at Universal is Tala Birell, a Viennese.
And now none other than Sari Maritza,
Charlie Chaplin's object of feverish excitement
in Europe. Sari, in spite of the name, is an
English girl, sanely and sensibly named
Patricia Nathan. But you know these movies.
They must be different.
TT'AREN MORLEY has her own little idea
of mystery — not copied from Garbo, either.
She wants to have dark hair in one picture,
blonde in the next, bobbed in another; long
What happened to Barry Norton?
Once a promising silent film player,
once one of the most romantic figures
in Hollywood with an elaborate apart-
ment and swanky cars, later a most
creditable actor in Marlene Dietrich's
"Dishonored," he suddenly dropped
from view and nobody knew what had
become of him. Six months later he
bobbed up again. Barry had thumbed
his nose at films and run away to the
South Seas where he went native and
wore a pith helmet like this
ad
nee
to
Lovely Sally Blane, featured in Columbia Pictures, smiles
approval of Princess Pat almond base face powder.
everv woman . . .
THE STORY OF
FACE POWDER
IS NEW
Always to Every Woman her
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by Patricia Gordon
Would you want face powder to give
you utterly new beauty ... to
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Once to every woman the story of Princess
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usual face powders (likely the one she uses)
have a base of starch.
Almond Base Completely Alters Face Powder
The very "feel" of Princess Pat powder
discloses its unequalled softness. There is
none of the dusty dryness of starch base.
One word comes instantly to mind to
describe Princess Pat almond base powder
— the word "velvety." It is a lovely sensa-
tion just to apply Princess Pat powder — a
feeling that the skin is being made silken —
a knowledge that no harsh, drawn effect
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The Famous "Invisible
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Almond base imparts to
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This is the lovely effect every
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powders are obvious, chalky, instantly to be
detected. But with Princess Pat, your
mirror says "beauty," not "powder."
New, Fashionable Shades
All the usual powder shades are made by
Princess Pat, though created in richer hues,
through the exclusive secret of prismatic
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gives you certain exclusive shades, setting
the new powder fashions. The famous Olde
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Princess Pat Ochre — loveliest of shades for
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Try Face Powder of Almond Base
You have used starch base powders — one
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Pat, you have never tried powder of almond
base; for almond, instead of starch is an ex-
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Once to every woman . . .
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Princess Pat powder — giving
"twice the beauty." To know,
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experience of millions of
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-for which
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Princess
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CHICAGO
IN CANADA
3 CHUKCH 8T
TORONTO
n>4
i OLDS
do this right now!
Go straight to the near-
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THE OLIVE COMPANY
Dept. P Manitou, Colo.
Photoplay Magazine for April, 1932
in the following, etc. And she doesn't want
the public to know what her own hair really is.
She's forever trying on wigs, to prove just
how many different types she can be.
Well, too bad, Karen, it won't work. We're
going to spoil your secret right now. You're
an ash blonde; you wear a Garbo bob and
your hair is naturally curly.
Incidentally, she's determined that her roles
shall be as varied as her head -dresses. She
literally begged to play the nagging wife of
Bill Haines in "Are You Listening?" This is
a role without one ounce of sympathy, and
when every other woman player on the lot
was shunning it, Karen asked for it — with
Madge Evans, as the "other woman," getting
all the breaks.
"I don't want sympathy. I want parts!"
TF you imagine the movies don't go in for
•^details, listen to this one!
In a certain scene in "The Man Who Played
God," George Arliss raises a violin high above
his head and bringing it down with a bang,
smashes it on a table.
The scene was shot no less than a half
dozen times, and each time it was reshot,
production was held up while a man rushed
in and tuned up the next violin so that when
it was smashed, the strings would vibrate in
tune! Tie that!
PDGAR WALLACE'S death came as a
J—'terrific shock to Hollywood. And, yet,
Hollywood took a bit of an ironic view. No
one could come here and live who wrote three
original stories in less than two months and
had them accepted. Radio will produce them
as rapidly as possible.
In addition to this, he completed two com-
plete novels and wrote a daily column for an
English syndicate.
It just couldn't be done in a city where it
usually takes six months to whip one story
into shape.
Incidentally, following Hollywood's custom
of keeping engagements at any cost caused
his death. He had a severe cold. He was
entertaining Hollywood celebrities at the Em-
bassy's Saturday night party. They urged
him to cancel. Hollywood doesn't cancel.
Mr. Wallace — trying to do in Rome what
Romans do — went to the party. He was taken
home very ill. Three days later he died of
pneumonia.
HpHAT little Virginia Cherrill — remember her
when she was Chaplin's leading woman in
"City Lights"? — has broken right into the big
social register book and has gone high, high
society. She's been doing all the places with
William Rhinelander Stewart (and you've got
to give all three names when you're mentioning
these society swells). Stewart went to sea with
Vincent Astor, on the Astor yacht. He went to
the South Seas.
Then he got lonesome for Virginia and
wired her asking her to be his bride — or at
least that's what they do say.
Virginia packed up and sailed for the South
Seas and maybe by the time you read this
they'll be married and maybe the ceremony
will be performed on the Astor yacht. And if
ever Virginia goes back to Hollywood can't she
look down her nose at Connie Bennett!
flK>iei\e s^TKeatre
L and CL'LTL'HAL eubiecta lor peraonal development — Star*. Teach,
inf. Directine-Drama, Stare and Concert Dnnnnr. Vocal. Screen. Mu-
aieal Comedy. Elocution. Slock Theatre and platform appearance, while
l-.ri.mi. tor oatalor 16 apply P. By. Sk'i, 66 W. 85th St., N. Y.
" A ND it's the cutest baby in town," or any-
■**-how that's what her mother thinks. The
mother is Bessie Love. The father William
Hawks.
The baby weighed seven and one-fourth
pounds. And was named Patricia.
1 T T ^ V V V W * V V V ^ T ▼ ^ » ■
Can You !l
Keep Within
Your
Budget?
MANY people are finding
it difficult to make "ends"
meet these days — but there is a
way that you can increase your
earnings so that you can buy
the little "extras" that you
want.
PHOTOPLAY is looking for
energetic subscription repre-
sentatives everywhere. The
work does not require special
training — it is pleasant and the
earnings are large, depending
upon the time devoted.
Some of the features that will
help you sell PHOTOPLAY
are:
Truthful reviews of current
pictures.
Stories about your favorite
stars.
"Monthly Broadcast from
Hollywood."
The general beauty of its roto-
gravure and duotone color
sections.
Foremost among the features
exclusive in PHOTOPLAY are
the Hollywood fashions by
Seymour — and now "THE
HOLLYWOOD BEAUTY
SHOP" in which Miss Van
Wyck tells the beauty secrets of
the stars and how to improve
one's beauty and personal
charms.
PHOTOPLAY will help you
in every possible manner.
Send the coupon below.
PHOTOPLAY MAGAZINE
Desk B4, 919 N. Michigan Ave.
Chicago, 111.
Please tell me, without obligation on
my part, how I may earn this extra
money.
Name »
Address
City
State
■ a. a. a. a. a.^.a..a..a.,a.^AA^A^
Photoplay Magazine for April, 1932
io5
T~NID you ever wonder what has become of
-*~^Rod LaRocque and Vilma Banky — that
pair of lovebirds who once shone in the film
heavens, and then disappeared?
They're the busiest couple in Hollywood
right now. They are preparing themselves for
the stage — and, eventually, the screen. Seems
funny, but it's true!
"We're not ready, and we know it," say
these two veteran troupers, going to school
again. So they are studying voice with Kayser,
a famous expert on speech, and Vilma is
practicing music with Caruso's old teacher.
In the meantime, both have refused stage and
screen offers — one from London.
Vilma's accent is still thick — and that is one
of the things she is working on. And you'll
hear from this fine pair again, and probably
enjoy their work more than ever!
"LJOLLYVVOOD has been taken for another
•*- ■'ride via the hoax route. This time a
couple of bright newspaper boys played the
joke that still has the film colony snickering.
It happened at the opening of "Mata Hari."
Hundreds of important stars had arrived,
been photographed, autographed books and
spoken sweetly into the microphone.
At last an imported car drew up to the curb.
Nobody recognized it as Rudy Valentino's old
machine which is now owned by a rental
garage. From the car stepped — guess who?
Well, he looked exactly like Albert (Rel-
ativity) Einstein. He spoke not a single word,
autographed not a single book. When Sid
Grauman rushed up to him he turned haughtily
away. One star twittered to another, "Should
I speak to him now or try to get to him later?"
And everybody wondered how the two news-
paper men had become chummy enough with
him to have him at an opening.
The next day the story was told. Professor
Einstein's impersonator (although nobody had
said he was the star gazer) was a local tailor
named Goldberg — all dressed up in a rented
Tuxedo. He is a dead ringer for Einstein.
A T the opening of "Hell Divers" a woman
rushed up to Clark Gable and held out a
jeweled evening purse, asking him to auto-
graph the flap. The bag was obviously of
great value so Clark said, "But haven't you
a piece of paper, madam?"
She insisted upon his writing on the purse.
Clark turned to the woman's husband. The
husband smiled. "Go ahead. You'll spoil
her entire evening if you don't sign it."
TETTA GOUDAL won her case against Cecil
' DeMille in the Supreme Court, and it looks
as if Mr. DeMille is going to have to pay that
S.U,531.23. The court finds Jetta not unduly
temperamental.
QUICK ! What do you think?
- Joan Crawford carries large gray silk
hankies, with a picture of Marlene Dietrich
worked in one corner.
And there's friendship, and a swell idea for
you girls. You're welcome!
Use the ballot on
page 118 to cast
your vote for the
Best Picture of 1931
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Photoplay Magazine for April, 1932
•""TALK about a show-woman! We'll hand
■*■ Marie Dressier a palm-leaf after hearing
this one! Why not?
Marie was returning from one of hertripsto
Europe. Reporters and photographers were
at the boat to meet her. They shot dozens of
pictures and were finished when one of the boys
said, "Well, what about some leg-art, Miss
Dressier-'''
He was kidding, but Marie saw her chance.
"Certainly, boys. Certainly."
Up went her foot on the rail ; up went her
skirts to the knee. Marie wasn't letting any
of the younger Hollywood gals get ahead of
her. She never does.
f"WER at M-G-M studios there's a
^man employed on the "Grand
Hotel" set, just to see that the clocks
and time pieces are correctly set.
JANET GAYNOR'S home— and at work !
' Little Janet, as winsome and sweet as
ever, after a long visit to the old world.
Here's the lowest of low down.
Janet hated England. They spoke our lan-
guage— but it was dark and foggy every blessed
day she was there.
But in the south — ah, another story. Janet
spent a lot of time in Italy, and she loved it,
for Italy is the nome of sunshine, and soft-
ness, and sweetness, and sunshine means
Hollywood — and home!
Mother Gaynor was with her, and so was
Husband Lydell Peck.
In spite of the nasty cracks the press has
carried about those two — they're happy, and
much in love.
TTHERE seems to be no more talk, these
A days, of Marlene (Legs) Dietrich being a
carbon copy of Garbo.
Yet they certainly do wear the same sort
of duds!
Dietrich goes to lunch in the Paramount
commissary wearing a small blue beret, wide
sailor pants and an odd little jacket. That's
a Garbo get-up, and no mistake.
On rainy days, she goes in for a Leopard
coat with a big collar, a tiny tam, and high
Russian boots — and no umbrella.
But after all, what has that to do with her
pictures — her screen appeal?
Nobody can deny that Marlene is one of
the most glamorous women ever to come to
the American screen. And as far as most of
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QHARLIE CHAPLIN— baggy pants, limber
cane, woe-begone face — may never be seen
on the screen again!
At least, that's what bis advance agent,
back from Charlie's side in Switzerland, says.
It seems that the great clown, well over
forty, wants to throw away the makeup and
devote himself exclusively to directing.
TT was no surprise when John Barrymore
signed a five-year contract at Metro-Gold-
wyn-Mayer — where brother Lionel has risen to
a fame which equals, if not surpasses, John's.
John signed for "Arsene Lupin" and "Grand
Hotel" by the picture but his new arrange-
ment is a week-by-week one. No, he doesn't
get as much money as he did at Warners.
Warners payed him $175,000 a picture, plus
$50,000 cash against a certain percentage of
the profits. Metro pays him, we understand,
a flat $150,000 for "Arsene Lupin," and a
little less for "Grand Hotel" with its huge
cast — the most costly in the history of pic-
tures. It is nice to know that the new Barry-
more baby won't come into the world ham-
pered by financial worries!
"DRAM WELL FLETCHER and Gwen Mc-
Cormack seem headed for wedding bells at
this writing. Bramwell is the stage actor, you
know, recently recruited to pictures and
Gwen's the daughter of John McCormack, the
Irish tenor. Oh, she's done a few bits but
doesn't seem to have actress ambitions!
TF you think that the movies are growing old
and blase and fed-up) — listen to this story,
which is so superbly what the world believes
of Hollywood that if it appeared as fiction,
no none would credit it for an instant!
In St. Louis was a James Force, who was
an insurance broker. But selling insurance
did not satisfy him. He had, and has, the
heart of an actor. He believes that he can do
the sort of thing that made Lon Chaney
famous. But he not only believes — he acted!
So Mr. Force gave up his insurance business,
and sold his many friends on his acting
ability. He sold them so well that a group of
his fellow businessmen underwrote him for
three years, promising him S250 a month
upkeep, until he made good in pictures. And
he's coming to Hollywood under this arrange-
Street _
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... Slate...
PHOTOS OF YOUR FAVORITES
PHOTOPLAY'S readers are constantly asking for new photographs
of their favorite motion picture stars, and we are pleased to announce
that PHOTOPLAY has just received new pictures of the following
ten players:
Constance Bennett
James Dunn
Fredric March
Norma Shearer
Greta Garbo
Robert Montgomery
Joan Crawford
Clark Gable
Marlene Dietrich
Miriam Hopkins
We are sure you will be pleased to have these pictures to add to your
collection. These prints, 8 by 10 inches, can be obtained for twenty-five
cents each, by addressing PHOTOPLAY Magazine, 919 N. Michigan
Avenue, Chicago, III. Or you can obtain any four of these pictures
Free by using the coupon on page 130.
Photoplay Magazine for April, 1932
107
mcnt. If, and when, he makes good, he is to
pay his backers their principal, and some
interest, for a period of ten years.
What a salesman!
CVERYTIME Mrs. Jean Hersholt hears
hubby Jean creeping carefully up the stairs
with a bulky package under his coat she knows
he's bought another first edition.
His library is already insured for $41,000
and he's always bringing home a new volume
he's just picked up at "such a bargain, dear,
that I couldn't pass it up."
"CIGHTEEN months ago there were thirty-
^""'tive contract players at Warner Brothers
On the day this is written (of course, they
may sign more tomorrow) there are five re-
maining:
George Arliss, Joe E. Brown, James Cagney,
Joan Blondell and Marian Marsh.
P.S. Wre were right! The next day they
signed Bette Davis.
Incidentally, have you ever noticed how
closely Marian Marsh resembles Dolores Cos-
tello, and Bette Davis in some shots is almost
a twin for Constance Bennett? We under-
stand that when Warner executives saw Bette's
tests, they said, "Another Bennett!"
Always hunting for duplicates of the head-
liners. And how seldom duplicates get further
than the first line trenches!
Wide World
"Smile your best smile, my dear,"
says Lionel Barrymore as he and his
wife are stopped by the cameraman
at the "Mata Hari" opening. Lionel
cops all the scenes on the set but
when he's out in society he gives the
breaks to the little woman. She
knows how to take them, too, for she
used to be Irene Fenwick, a grand
stage star. She's content, now, to be
just Mrs. Lionel Barrymore — and
they're crazy about each other
Or Course/ /on Can Have /vn
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Photoplay Magazine for April, 1932
IZ'AY FRANCIS has stolen many a
scene. She began, disastrously
enough, at the age of four when her
mother, an actress, had just finished
a heavy death bed scene on the
stage.
Little Kay toddled out from the
wings to the foot lights.
"She isn't really dead," Kay as-
sured an amazed audience. "She's
my mother and she's only play
acting."
"D ECENTLY in a Los Angeles paper there
appeared a headline as follows: "Stars
Will Be Subject of Lecture," and the Audi-
torium was packed with people who hoped to
hear all about their favorite movie star, and
who had not taken the trouble to read further
and learn that the lecture concerned the astral
system.
Y\7HEN you saw "Tonight or Never,"
^* Gloria Swanson's picture, maybe you
wondered who played the off-stage honeymoon
couple (heard but not seen), that got Gloria all
hot and bothered in the picture.
They were two well-known players and we
shouldn't be telling because it's supposed to be
a secret.
But we just can't keep those things.
They were Joan Blondell and David Man-
ners.
Here's how it happened.
Director Mervyn LeRoy used to hear Joan
kidding the boys on the set by saying, " Kiss
me," in such dulcet and seductive tones that
the lads flocked around in droves. So when
the lines came up in "Tonight or Never," he
asked Joan and David Manners to play off-
stage noises.
They did — without pay, just for the laugh.
"HNRESSED in a brand new football suit,
■^Jackie Cooper gave one punt too many and
landed in a heap, on his ear. "Listen, Jackie,"
Marie Dressier warned, "when you feel your-
self tumbling again, don't try to break your
fall with your hands. Place both arms over
your face and let go. Remember, Jackie, a
broken arm in this business isn't half as bad as
a broken face. Always remember that."
T3ELIEYE it or not! We don't. But here's
the story they're telling:
When Paul Lukas made personal appear-
ances at the Brooklyn, N. Y., Paramount
theater, he was stopped one evening as he
pushed past the doorman.
"It's all right for you to let me in," he told
the doorman.
"Why, who are you?" thundered that
official.
"Paul Lukas," was the answer.
"Oh, is that so!" came the retort. "Well,
we have enough palookas around here now.
So, scram!"
YI THEN Edward G. Robinson was in
London, recently, throngs mobbed him
every time he appeared in public.
He was most flattered at this display by the
supposedly reticent and indifferent English,
until he discovered the attention was not be-
Folks, meet Betty Boop right . You'll be seeing a lot of her because she is
the new animated cartoon character who is trying to cut in on Mickey
Mouse's popularity. Does she look familiar to you? Now look at little
boop-a-dooper Helen Kane. Helen was the cartoonist's inspiration for
Betty, the first time a real life character has been used for the popular
jumping comics
.
Photoplay Magazine for April, 1932
cause he was Robinson of pictures but supposed
to be a double of Al Capone of Chicago.
They wanted to get even a second-hand peep
at the gangster.
In all credit to Robinson, he tells it on
himself.
TJTATE to pin another on long-suf-
-^■fering Samuel Goldwyn, the pro-
ducer, but a Hollywood columnist
has one too good to miss.
Howard Dietz, author of the tre-
mendous revue hit, "The Band
Wagon," was getting congratulations
from Sam.
"Glad you've got such a success in
that swell show, 'The Band-Box,' "
said Goldwyn.
Dietz was not to be licked. "I
think that picture of yours, 'Arrow-
root,' is great, too !" he answered.
TNA CLAIRE, away over in London, arises
to say, according to English newspapers,
"My marriage to John Gilbert was one of
those things one does in a hurry and regrets
afterwards. I must wait six months more for
my final decree so I am not open to proposals
just now."
T_TARRISON CARROLL, Hollywood's ir-
repressible columnist, tells this one.
Two men happened to meet at the bar during
one of those big parties.
"Your face is familiar," said one. "Haven't
I seen you here before?"
"More than likely," was the smooth reply.
"This is my home and I frequently entertain."
rT"IALK about movie salaries. Chicken feed,
mere chicken feed compared to those stars
who go vaudevilling. And to go on a vaude-
ville tour is the swankiest thing to do these
days. Yesterday, the stars who had slipped
and were headed downward were the only ones
who "hit the road." But not any more. The
bigger and better stars are treading the boards
like good fellows today, and no wonder. Listen
to this.
Tom Mix and Tony got $10,000 a week.
Mae Murray gets $1000 a day. Not a week,
if you please, but one twenty-four-hour day.
Anna May Wong is gadding about to the tune
of §3500 per gad, every week. Victor Mc-
Laglen and Charles Judels each earn $6000
every week. Jackie Cooper has been promised
$7000 and Lupe Velez $6000. Jack Dempsey
is preparing to grab off $7500 a week and the
former Mrs. Dempsey (Estelle Taylor) re-
ceived $2500 a week for twelve long weeks,
and as soon as she recovers from an auto-
mobile accident, will go bye bye again.
Louise Fazenda is promised $3000 per and
Edmund Lowe and Warner Baxter will grab
off $5000 every Saturday night.
A staff of writers is maintained by a prom-
inent theatrical agency in Hollywood to write
material for all the outgoing stars of pictures.
Occasionally the production companies agree
to pay half the salaries but not always.
Find some of the
$500 in Photoplay's
Treasure Hunt. See
the rules on page 1 02
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Photoplay Magazine for April, 1932
TPHE prize joke on Hollywood has just been
revealed.
A little over a year ago, in New York, Pat
O'Brien's telephone buzzed at 3 o'clock in the
morning.
"California calling," the operator informed
the sleepy O'Brien.
A little bewildered that any one should be
calling from California, I'at held on.
"This is Howard Hughes speaking," a voice
said, "will you come to Hollywood to play
'Hildy Johnson' in 'The Front Page'?"
"Why, why sure," I'at replied.
"How much salary do you want?" Hughes
asked.
O'Brien was stumped. He hadn't the
slightest idea of what he was expected to
answer So .Mr. Hughes kindly consented to
hold the wire open for one hour while Pat
decided.
/^\'BRIEN hastily dressed, rushed to the
^"■^ Lamb's Club to ask for advice, but no one
was about.
So hurrying back to the phone, they decided
that Mr. O'Brien should confer with Mr.
Hughes' agent in New York, later that morn-
ing.
And then Pat suddenly remembered he was
under contract to play in the stage play
"Tomorrow and Tomorrow" just going into
rehearsals.
So, to the puzzled astonishment of Mr.
O'Brien, Hughes very kindly bought out his
contract.
A WEEK later Pat O'Brien arrived in
Hollywood and discovered that everyone,
including Hughes, believed he had played
"Hildy Johnson" on the New York stage, and
all the telephoning and contract buying was
made clear.
Pat, who was merely a member of the stage
play "The Front Page," kept his secret for a
week. Finally he had to tell. And twelve gentle-
men proceeded to swoon all over Hollywood.
But just the same Pat got the role and made
it hum.
But Howard Hughes didn't smile for weeks
after that boner.
A ND all rumors to the contrary, Marlene
Dietrich will visit her native Germany
only after she completes three more pictures
for Paramount.
So that means another year in Hollywood for
Marlene.
But Garbo?
It won't be long now. Garbo's contract
comes to an end very shortly.
"So what?" as Jimmy Durante says.
And Hollywood and the world holds its
breath.
A CCORDING to Variety, Leslie Howard,
"^^the important young English actor who
walked out on Hollywood's movie moguls and
left them dangling their sacks of gold, has a
swell definition of the word that has puzzled
Hollywood into many a nervous breakdown.
"Box Office" is the word. What is "Box
Office"?
"I may not know box-office, "Howard stated.
"that terrific bugaboo to which Hollywood
constantly refers, and of which it knows. I
suspect, as little as I do — but I do know what
constitutes a good play, a good performance
and a sincere projection of a dramatic idea
that will hold interest.
"If there's a better definition of box-office
than that — and if it's up to my standards —
Fm willing to listen to it."
What $2.50
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You have read this issue
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Photoplay Magazine
Dept. H-4, 919 No. Michigan Av., CHICAGO
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PHOTOPLAY MAGAZINE
Department H-4
919 No. Michigan Ave., CHICAGO
Gentlemen: I enclose herewith $2.50 (Can-
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Photoplay Magazine for April, 1932
I I I
Of course there isn't a better one. But
Hollywood's definition seems to be,
"If a picture makes money, it's box-office.
If it doesn't, it's art."
GRETA NISSEN and Weldon Heyburn
are Hollywood's latest romancers. He's
Fox's hope for a second Clark Gable, you
know — the one who looks like him from "all
angles."
It's a hot romance, believe us. The pretty,
dynamic blonde and the Gablish, virile new-
comer.
ACCORDING to someone who
had worked on "The Blue
Angel" in Germany, the reason Mar-
lene Dietrich got the leading role
was because she learned to speak
English more quickly than any other
applicant.
And there you see, Little Cyril,
it was brains and not a pair of legs
that sent Marlene starwards. But
the legs were no handicap.
TX THEN Anita Page was playing with
*V Marian Marsh in "Under Eighteen,"
Marian deliberately turned Anita's face to the
camera and gave her the scene. Anita thanked
her sincerely. Marian replied: "I never kid
myself when some one is better than I."
And that makes Marian Strange Case 4-A
in the scene-stealing community of Holly-
wood. But give her time, we add with a cynical
pull at our moustache. She's young in the
business yet.
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James Dunn
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Greta Garbo
Robert Montgomery
Joan Crawford
Clark Gable
Marlene Dietrich
Miriam Hopkins
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Photoplay Magazine tor Apkil, 1932
Screen Memories From Photoplay
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TJERE'S a laugh in an
**interview with Rich-
ard Bennett. Accompany-
ing it was a picture of
Dynamo Dick with his
two daughters, and we did
not even mention their
names! But the chubby
one with dark bobbed hair,
who wasn't a day over
four when that picture was
taken, is unmistakably Joan, and the girl with
long curls and glasses must be Barbara. What
of Constance? Papa Bennett did not even
speak of her.
How could he know that fifteen years later
the pages of PHOTOPLAY were to be decorated
with her pictures; that she was to be the Mar-
quise de la Falaise; that her salary was to be
you know how much?
Fifth Avenue's most exclusive shops dis-
played clothes with a strong Babylonian in-
fluence and we pointed out that D. W. Griffith's
'"Intolerance" inspired the vogue. Said we.
''The screen is a genuine style creator," which
was, undoubtedly, the first time the phrase had
been used. Fifteen years ago the movies in-
fluenced styles. They're still doing it.
The tragic note was a brilliant little yarn
about Gladys Brockwell, one of the most allur-
ing "vamps" — they were vamps in those days.
Not so many years ago, just after a screen
comeback, she was killed in an automobile
accident.
Fthel Clayton was the girl on the cover and
gallery pictures included Lenore Ulric, Dustin
Farnum, Ora Carew, Frank Mayo, Emmy
Wehlen, Leo White, Alice Joyce and Gail
Kane.
Pictures reviewed: Norma Talmadge in
"Panthca." William Desmond in "The Iced
Bullet," Charlie Chaplin in "Easy Street,"
Irene Castle in " Patria," and Marie Dressier
in "Tillie Wakes Up."
We made this comment:
"If someone will write a scenario for Marie
Dressier using just a littie bit of her capacity
for pathos, and leaning to occasional serious
moments, she will create a female David War-
field." Were we right?
Cal York item: Mary Pickford is to do
" Rebecca of Sunnybrook Farm."
10 Years Ago
IF
Nazimova
XDOUBTEDLY the
•most interesting
woman of ten years ago
about whom we wrote at
length was Nazimova.
Even in those days of
sweet, sweeter and sweet-
est heroines Naz — as we
fondly called her — had
that rare thing, glamour.
She was already wary of
interviewers — like Garbo. But the present day
glamour girls could find a couple of lessons in
the fate of Nazimova. She ruined herself pro-
fessionally because she tried to pick her own
stories, act in them, supervise the building of
sets and help with direction. Ruth Chatterton,
take a look at your amazing contract and be
worried !
Grandly we rallied to the defense of the film
beauties and declared the lassies had brains,
proving this with psychological tests given by
an eminent examiner. Colleen Moore passed
with flying colors, as did Helen Ferguson. But
Patsy Ruth Miller, who was just a sixteen-
year-old "find," got the best mark of all.
One of the loveliest stories ever written
about a newly wedded pair was printed. How
idyllically happy they were — Bill Hart and
Winifred Westoverl Now Bill is alone on his
ranch and Winifred, after her comeback in
"Lummox," is almost forgotten on the screen.
Close friends say that Hart still loves her.
If you don't believe everything runs in
cycles, glance at this item: "Drastic salary
reductions have been announced in almost
every Hollywood studio within the past week.
The cuts range from ten to twenty per
cent."
Dorothy Gish was the girl on the cover and
the gallery pictures included: Elsie Ferguson,
Anita Loos, Maryon Aye, Conrad Nagel, May
McAvoy, Norma Talmadge and Madge Bell-
amy.
Cal York items: The day after the news of
Yalentino's divorce decree leaked out to a
palpitating world, Famous Players-Lasky
stock jumped two points. . . . Lila Lee is the
latest little lady to achieve the honor of having
her name linked with Charlie Chaplin's.
5 Years Ago
Greta
Garbo
T) HETORICALLY. we
-^-asked in headlines,
"What's the matter with
Greta Garbo?'' The en-
suing years have answered
us through hundreds of
throats — "She's all right !"
Five years ago we told
how Garbo was harassing
her studio by making
them wonder if she would
remain in Hollywood or return to Sweden.
She begged, it seems, for sweet girl roles instead
of the sirens she had been playing. Today she
is again worrying the studio. Will she sign or
will she return to Sweden?
Five years ago she signed because she got a
bigger salary. Maybe she will do the same thing
again for the same reason. Does that make you
feel better?
Here is an amazing story in PHOTOPLAY by
no less a person than H. L. Mencken, called
"The Low Down on Hollywood," in which he
said: "Hollywood seemed to me to be one of
the most respectable towns in America." And
again, "The wildest night I encountered was at
Aimee McPherson's tabernacle. I saw no
wildness among the movie folk."
And in another story we wondered if Gary
Cooper and Clara Bow were really engaged or
not.
What different paths these two have taken —
Gary, the ranch boy, who has been away ex-
ploring in Egypt, and Clara, the city girl, mar-
ried to a ranchman, Rex Bell, and quite content,
thank you.
Lois Wilson graced the cover while the
gallery pictures included: Blanche Sweet and
her sweet old grandma; Charles Farrell, Gilda
Gray. Yictor McLaglen, Evelyn Brent and
Yilma Banky.
Cal York items: Jobyna Ralston and Dick
Arlen are married. . . . Lois Wilson's first few
weeks of freedom from her Paramount con-
tract were spent learning the "Black Bottom."
. . . James Kirkwood and his wife, Lila Lee,
will appear together in a stage play in Los
Angeles.
Photoplay Magazine for April, 1932
ll3
Caught With The
Goods
[ CONTINUED FROM PAGE 37 |
Sherman— who knows a thing or two himself
— were working together in "General Crack,"
the two gazed at each other like a couple
of lighting cocks. Notice, in "Arsene Lupin,"
Jack's little trick of looking out of the corner
of his eye, with an intense stare, his head
turned ever so slightly.
The eyes are often the scene stealer's black-
jack, as witness Cliff Edwards with Charlotte
Greenwood in "Stepping Out." During
Greenwood's speeches, Ukulele Ike continually
rolled his eyes. Presto — you watched him and
not Charlotte.
GESTURES, of course, play a large part in
this amazing business of thievery. Remem-
ber George Bancroft invariably reaching for a
handkerchief during another's speech? Re-
member Jack Oakie with a slightly moving
hand to his face most of the time? And then
there's Wally Beery who once stole a scene
when he was forced to play his back to the
camera. He was wearing a dark suit and carry-
ing light gloves. He folded his hands behind
him, holding the gloves. The splash of white
against the dark suit was an eye-catcher.
Wally has another famous and favorite trick.
He will not read a line twice in the same way.
Players never know just what he is going to say
next and they are, therefore, so intent upon
catching Wally's lines that they are unable to
resort to any tricks themselves. He never does
the same piece of business twice. He moves
one way during a rehearsal and exactly op-
posite during the shot, thereby neatly keeping
other actors' attention upon him. He kept
moving continually in the opposite direction
with John Miljan in "Hell Divers."
But Wally had to fight for scenes with John,
for that veteran has some good ones up his
sleeve. You will notice that Miljan's voice is
pitched several tones lower than that of the
other players. By its very contrast, it draws
instant attention. That quiet voice, compared
with Wally Beery's rumble, stole several scenes
in "Hell Divers."
T_TERE is a trick so simple that I wonder it
-*• -*- isn't used more often. It is very good for
the health — unless some actor gets mad. Watch
Ruth Chatterton. You'll notice that when she
finishes a speech and the other actor starts to
talk, she holds her breath, a physical gesture
which keeps your eye upon her rather than upon
the person talking. As a rule when a person
finishes speaking he exhales. It is a sign he has
completed what he has to say and you will
naturally turn to look at the one who must
answer. But by holding her breath, not put-
ting the period to her sentence, Ruth also holds
her watchers. Try this the next time you're in
a room full of people. You'll discover that eyes
remain focused upon you because you give the
impression that you have more to say.
Even Garbo has her tricks, but, like every-
thing else about Garbo, they are far from
obvious. For instance, it is her habit to ignore
the mistakes of others. She will not take time
out for corrections. She goes through a scene
but twice and then leaves for her dressing-
room. Hence, the rest of the cast are so busy
trying to keep from making errors that they
have little time for scene stealing. And maybe
that accounts for the fact that Garbo's leading
men, excellent actors when playing with other
itars, are often not so good when they play
with her. Certainly this was true of Bob
Montgomery in "Inspiration."
Bob couldn't get in his gags effectively. It
is the famous Montgomery smile that has taken
many a scene from a fair lady. He invariably
smiles during the scenes of the other actors —
attracting the attention. He also treats other
performers' scenes flippantly, which rattles
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Photoplay Magazine for April, 1932
a rtain 84 ton, particularly when they are try-
ing to be dramatic.
Adolphe Menjou's shrug is a famous scene
stealing trick. He uses it while others are
playing and he also turns his eyes toward the
camera while others are speaking. He calls
attention to himself.
SAM HARDY, on the other hand, useshis size
to attract your eye. He is six feet, three and
a half, hut he can look even larger by holding
his head back and gazing down upon the other
players. He seems to tower above them. You
noticed this, perhaps, particularly in the scenes
with little Roland Young, in "The Affairs of
Annabelle."
Eddie Horton gets the spotlight by seizing
the center of a group, thereby forcing other
players to act toward him even when they are
speaking to someone else in the scene. Re-
member the church episode in Norma Shearer's
" Divorcee"? He did it there.
It is, for the most part, other members of the
cast and not the stars who steal scenes. The
star is usually played toward the camera. That
is why subordinate players must fight. They
said Joan Crawford saw to it that her face was
always photographed at its best in "Possessed,"
while Clark Gable was allowed to show only
his profile and back.
This was not Joan's idea. It was purely di-
rectorial. For Joan was the one who fought
to get Gable for that picture.
The producers felt that he was able to play
only the tough gangster of "A Free Soul."
Joan saw him as the suave drawing-room type.
Finally, she persuaded the studio to give him a
test for "Possessed."
Having made such a fight to secure him for
a leading man, she did not deliberately steal
scenes from him.
Evelyn Brent was likewise accused of scene
stealing in "The Mad Parade." During her
sequence with June Clyde, Evelyn was sup-
posed to appear hard and cold, giving June the
audience sympathy. Instead she wept every
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time the scene was shot, but it was because
Evelyn felt this the right reaction for the char-
acter she played and, not being able to con-
vince the director, she took matters in her own
hands — or rather her eyes — and used the trick.
They say that Anita Page pretends that she
does not hear the director's orders and goes on
playing in her own way while the rest of the
cast follow. Retakes are so expensive that this
gets by.
But the greatest of all screen battles was
waged between Victor McLaglen and Edmund
Lowe while they were making their famous
Sergeant Quirt and Captain Flagg series. Here
were two fine troupers, with equal parts, fight-
ing for screen supremacy.
Lowe and McLaglen have become synonyms
for backing up." In the legitimate theater it
is called "up-staging."
It's a simple trick. The actor who wants to be
most in the spotlight takes a step upward away
from the camera or the audience. This means
that the other person, in speaking to him, must
turn his head away from the camera.
P DDIE LOWE and Vic McLaglen would start
-*— ' a scene before the camera and back up on
each other until they ended it somewhere in
the vicinity of China.
And every step of the way they tried to out-
mug and out-grin each other.
And did you notice those genial rivals, Eddie
Lowe and Warner Baxter, try to pick scenes
out of each other's pockets in "The Cisco
Kid"?
What a couple of adepts at grand larceny
they are !
But the strange part about it is that an actor
may steal the scene from under the nose of his
best friend.
And it's all forgotten when quitting time
comes. It's all part of the game. Every actor
knows it.
And, as a rule, it makes for better perform-
ances when every man, woman and child in a
cast is up and at 'em.
30 Girls in a Race for Stardom
; CnXTIXUED FROM PAGE 75]
Karen Morley does her best work in "Arsene
Lupin," with John and Lionel Barrymore, in
spite of the fact that she was an amateur
against the two most finished actors in Holly-
wood. There are moments when the compari-
son is bad, but at times she is great. Karen
knows how to keep her mouth shut about her
personal affairs.
She has that quiet but determined push of
truly secretive women. But so far she lacks
the radiance of glamour.
IF they turn Una Merkel into a comedienne
with love interest — watchhernoseoutalotof
the others. Her Gish-like beauty seems to call
for Gish-like roles, but her cute Southern
drawl, the tantalizing twinkle in her eyes and
the determined set of her really beautiful
shoulders spell comedy. She has a sense of
humor off the screen that the old camera
catches and I'll lay any w:ager — a couple of
pineapples and a banana, let's say — that if
they give her the right pictures the kid will
finish in the pay class.
After "Are These Our Children?" Arlene
Judge should go far and director husband
Wesley Ruggles will see that the studio does
right by the little gal.
Frances Dee is a question mark. She is one
of the prettiest and most brilliant girls in
Hollywood but, as someone who has seen all
her pictures, said:
"She's a bit cold. She may change ice to
fire. Otherwise she'll be just a good leading
woman."
Genevieve Tobin is a master at the tech-
nique of acting and very much like Ruth
Chatterton. It is true, however, that she has
been called high-hat by Hollywood because
she does not understand the light comaraderh
of the studios and cannot remember to speak
to electricians.
But her slogan is, "The top or nothing."
She wants to be the biggest of them all. A
few more roles like she has in "One Hour with
You" will help, anyhow.
Dorothy Jordan will always have a place
because of her sweet beauty and her human
understanding, but she hasn't the infinite
variety necessary for stardom, whereas Anita
Page should have been a star following her hit
in "Broadway Melody." Anita has received
an enormous amount of publicity and her fan
mail rivals Clark Gable's, but she has made a
lot of mistakes on her lot by talking too much
about parts for which she is tested before they
are officially given to her.
LEILA HYAMS, too, is still in the race. She
remains a competent leading woman and
may, some day, break out with a rip-snorting
good role that will give her a chance to nose
out another racer.
Helen Twelvetrees, a fine actress and very
beautiful, is technically a star but not really \
one in the opinion of the public, until she does
something worth}' of her talents.
A few months ago Marian Nixon would not
have been considered but it looks now as if
she will, like Sally Eilers. make a comeback.
She's playing opposite Charlie Farrell in I
"After Tomorrow" and Director Frank Borzage :
says she has many of the same qualities that
Janet Gaynor has.
.Maureen O'Sullivan is another who seemed
to be left at the post until she did such a good
job in "Tarzan." Now she may prove herself
and swing into the lead.
Peggy Shannon, Constance Cummings,
Greta Nissen, Myrna Loy, Barbara Weeks,
Mona Maris — they're all in the running and
no one can tell.
Ayf YRNA LOY must overcome being typed as
•lv-L a vamp. Constance Cummings has done
many fine pictures.
She's Columbia's high hope, but whether or
not they can create a star out of such a regu-
lar girl remains to be seen.
So place your bets, folks. We pick the
favorites, but the favorites don't always win.
Some of those way off there down the track
might take a fresh spurt and finish 'way ahead.
And— who knows? — they may run a dark
horse!
Photoplay Magazine for April, 1932
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Photopla. Magazine for April, 1932
The Shadow Stage
The National Guide to Motion Pictures
'(REG l\ S. PAT 'il I >
AN EYELASH
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Address^
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ivm
THE GAY CABALLERO—Fox
GEORGE O'BRIEN rides and rescues, as
usual, in a border-line community, where
law is unknown. He shares honors with Victor
McLaglen, while Conchita Montenegro is the
feminine attraction. An actor named Weldon
Heyburn registers big in a small part and his
dynamic personality will remind you of
Lawrence Tibbett. The film, itself, is just
average.
DRAGNET PATROL— All-Star
THE least said about this one the better. It's
a banal ballad in celluloid about an ex-
sailor who runs rum and generally amuck be-
tween two women. One he marries. It would
really be kinder not to mention the cast. So
we'll just cough politely behind a discreetly
raised hand and pretend it was two other
Hawaiians.
NICE WOMEN— Universal
BEAUTIFUL daughter offered on marriage
block to save impoverished and selfish
family — but little sister gets the man; such is
the trite plot which surprisingly turns out to be
entertaining by dint of skilful acting. You
may be swayed by the tender romance of
Frances Dee and Russell Gleason, Jr. — but it's
Sidney Fox who gets the breaks when she
finally lands millionaire Alan Mow-bray.
FINAL EDITION— Columbia
HERE'S a newspaper story that packs a real
punch. Political intrigue, the murder of
the police commissioner, and a smart girl re-
porter out to prove to the city editor that she's
a real newspaperwoman, are the ingredients
for the fast moving story. Pat O'Brien, as the
hard-boiled editor, and Mae Clarke, as the
reporter, and love interest do excellent work.
Decidedly worth seeing.
A FOOL'S ADVICE— Frank Fay Prod.
FRANK (Master of Ceremonies) FAY,
whose agility in turning a neat phrase
amused Broadway for years, returns to the
screen not only as star, but also producer. This
time he plays to the sticks. Smart boy!
There're more Oshkoshes than Broadways. As
the beloved yokel who unwittingly uncovers a
crooked political plot, Fay gives an appealing
performance. Ruth Hall and George Meeker
furnish the romantic interest.
THE ROAD TO LIFE—Amkino
YOU may or may not think that this first
Russian talkie (with English titles super-
imposed) is art, but we'll wager you'll be highly
entertained by the actual story of how the
Soviet government turned the wild children of
Moscow — all hopeless little bandits left parent-
less by the revolution — into able citizens! Hi
there, comrade! It is really a fine spectacle
and one you shouldn't miss.
MURDER AT DAWN— Big Four Prod.
THIS is supposed to be a grizzly tale in line
with the current vogue for horror pictures.
Faces at windows, falling bodies, weird happen-
ings— in fact all the props with none of the
chills. Through it all run Jack Mulhall and
Josephine Dunn, far more confused than you
and not nearly as amused. Marjorie Beebe is
a bright spot.
STEADY COMPANY-Universal
TUNE CLYDE and Norman Foster are again
teamed in a nice comedy drama, which re-
counts the romance of a circumspect working
girl and an ambitious truck driver. There are
some fine moments, and ZaSu Pitts gets a
laugh whether she speaks or merely moves
those long, expressive' hands. Fun for the
whole family.
WITHOUT HONOR— Supreme
•"PHIS is regular old home week and you'll
■*■ recognize a lot of one time favorites.
There's Harry Carey, starring in a Robin Hood
sort of role, and there's Mae Busch as well.
Mae, where have you been all these years?
Gibson Gowland, who was once a great char-
acter actor, comes back for a brief moment.
This is a Western with a fair amount of thrills.
THE MENACE— Columbia
A RDENT mystery fans will find this amus-
-*Mng enough. It's all pretty artificial, but
the action is fast and includes murders, steal-
ings and jail-breaks. Certainly there is the
detective from Scotland Yard (he's your old
friend H. B. Warner) and there are also the two
inevitable young sweethearts.
TEXAS GUN FIGHTER— Tiffany Prod.
TPNESPITE hammering hoofs and quick gun
-'-'play, this Western moves at too slow a pace
to be entertaining. There's nothing new about
the plot — Ken Maynard is an outlaw who goes
noble on account of a gal he saves. There are
the man hunting posses and the other outlaw
band. Sheila Mannors is the reason for all the
shooting.
AIR EAGLES— All-Star
'"THE best thing about this film is that two
■*■ old favorites return to the silver screen.
Matty Kemp and Lloyd Hughes are the lads.
Kemp's work is excellent. By glancing at the
title, you can guess what type picture it is, but
so many big aviation pictures have been made
that this suffers somewhat by comparison.
SHOP ANGEL— Premier Attractions
"COR once little Marion Shilling gets a good
*- acting part and — goody for you. Marion —
makes the most of it. Her prettiness, which
sometimes reminds you of Billie Dove's, is set
in a nice frame of good-looking men — Anthony
Bushell, Walter Byron and Holmes Herbert.
If you're very, very romantic you'll like this.
CROSS-EX AMIN A TION— Supreme
THE suspense of this dramatic production is
sustained at a high pitch. The attorneys.
H. B. Warner and Edmund Breese, have the
big scenes, but the boy, accused of his father's
murder, is made utterly real by Don Dillaway.
Excellent entertainment.
THE MONSTER WALKS—
Action Pictures
ROBERT ELLIS has turned his experience
as actor and director to good advantage,
and dashed off another horror picture that will
give you those old creeps. A nice cast, headed
by Vera Reynolds and Rex Lease, is helped by
the "creepy" house, a huge ape and a corpse.
Bu-r-r-r — are you scared?
Photoplay Magazine for April, 1932
II7
THE SADDLE BUSTER— RKO-Pathe
ANOTHER swift-moving Western with
smiling Tom Keene lassoing all the honors
and, would you believe it? — there is not a shot
fired nor a single person killed. It's a great
evening for the kids.
SALLY OF THE SUBWAY—
Action Pictures
DON'T be misled by the title. This is not a
Pollyanna yarn. It's a crook story — and
very high class crooks at that. Jack Mulhall
and Dorothy Revier do nicely enough in this
little picture which will provide you with an
amusing evening. The photography is swell.
ZANE GREY'S SOUTH SEA ADVEN-
TURES—Sol Lesser
AUTHOR Zane Grey's fishing expedition in
the South Seas becomes tiresome only be-
cause it runs into five reels and repeats much
that has already been shown in other pictures.
However, there are exciting moments, par-
ticularly when Mr. Grey loses one sword fish
only to catch a better one.
THE DRIFTER— All-Star
"TDIERRE, he go back to de beek woots, an'
*■ fin' dees ol' cabeen — she ees feel wit'
memories. But Life, she ees gran', my fren',
n'est-pas? Ah-h-h!'' William Farnum, an
actor of wide dramatic scope, is miscast here as
a French-Canadian kibitzer who goes about
spreading two sunshines where only one grew
before. Noah Beery, Charles Sellon, Phyllis
Barrington, and Bruce Warren are all a-clutter
about nothing at all.
L\OZV—
This decided improvement in a nose
is the result of an accident, but Car-
olyn Van Wyck doesn't advise other
girls to go to the unpremeditated ex-
treme Judith Wood went to. Judith
got her face pretty badly cut up when
an automobile smashed into her car.
Doctors thought the injuries would be
permanent, but when bandages were
removed after the operation Judith
had' a new nose. The original — at
the left — wasn't so bad, but the new
one is better
FEWER COLDS..
LESS SEVERE COLDS
Mothers everywhere have welcomed and adopted the Vick
Plan for better "Control-of-Colds." In millions of homes,
it is reducing the number, severity and duration of colds.
HERE, BRIEFLY, IS THE VICK PLAN:
1— BEFORE a Cold Starts 2.— AFTER a Cold Starts
At that first scratchy, sneezy irritation
of the nasal passages, or a child's first
"sniffle"— Nature's warning of a cold
coming on — use the new Vicks Nose &
Throat Drops promptly. Also, at the
slightest stuffiness following exposure
to anything that usually causes a cold.
Vicks Drops are based on a new idea of
preventing colds— of stopping many
colds before they get beyond the nose
and throat— where most colds start.
If you have neglected precautions— or
a cold slips by them— don't neglect the
cold. Follow the Vick 24-hour treat-
ment as directed: Use the family's
standby— Vicks VapoRub— at bed-
time, for its double attack on the cold
all night long. Follow with Vicks
Nose Drops for ease and comfort dur-
ing the day. (If there is a cough, try
the new Vicks Cough Drop— actually
medicated with Vicks VapoRub.)
TRIAL OFFER BY YOUR DRUGGIST
You have Vicks VapoRub. Now get the
new Vicks Nose Drops and use with
VapoRub as directed in the Vick Plan —
to reduce your family's "Colds -Tax" in
money, loss of time and health. Unless
you are delighted with results, your drug-
gist is authorized to refund your money.
Use Together
Vicks - irlts
Nose {.Throat \II>»*bS
Drops. ZI&ssx
Photoplay Magazine for April, 1932
Grow
Yes, Grow Eyelashes and Eye-
brows like this in 30 Days
Marvelous new discovery! — makes eyelashes and eye-
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I s;iy to you in plain English that no matter how scant
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No "ifs," "ands," or "maybos" — you actually see
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O v er 10,000 Women Prove It
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816 Broadway New York, N. Y.
Subscribe to Photoplay. Use con-
venient subscription blank provided
on page 1 10 this issue.
ote for the Best
r icture of the I
ear
YOU who read Photoplay and are
interested in encouraging better and
better pictures have your annual oppor-
tunity— and in a way, duty — to encour-
age the producers who are making an
effort to give you fine pictures, big human
themes, and direction of the highest
quality.
Each year Photoplay awards a Gold
Medal for the best picture shown in the
previous year.
But you readers of Photoplay select
the winner. Your ballots tell the final
story.
You have never failed to make the
perfect choice, as you may see by turning
to the contents page in this issue, where
the best pictures of the past eleven years
are named.
Photoplay furnishes the Gold Medal
of Honor — the Nobel prize of the cinema,
made of solid gold, weighing 123J^ penny-
weights. It is two and one-half inches in
diameter, designed by Tiffany and Com-
pany, New York. But your votes are the
last word. You really award the Medal,
which is the highest honor that can be
conferred upon any motion picture com-
pany.
EACH year we ask that in selecting the
best picture you forget personalities
and consider the film as a whole, from a
standpoint of story, direction, acting,
theme, motivation and spirit.
The ballot printed below is for your
convenience. Use it.
Also you will find a list of fifty outstand-
ing films released in 1931, but that does
not mean you are limited to one of these.
You may choose any 1931 picture that
you think worthy of this highest of all
awards.
And send in your votes as early as pos-
sible.
May the most worthy picture win!
May you again be able to take just pride
in your selection! Everyone, whether he
be a subscriber to Photoplay or not, is
welcome to cast a vote.
List of Fifty Pictures Released in 1931
Alexander Hamilton
American Tragedy, An
Are These Our Children?
Bad Girl
Blue Angel, The
Champ, The
Cimarron
City Lights
City Streets
Criminal Code, The
Daddy Long Legs
Devil to Pay, TIte
Devotion
Dirigible
Dishonored
East Lynne
Five Star Final
Free Soul, A
Front Page, The
Guardsman, T/ie
Huckleberry Finn
Illicit
Inspiration
Millionaire, The
Miracle Woman, The
Mother's Millions (also
tilled "The She Wolf)
Night Nurse
Paid
Platinum Blonde
Politics
Public Enemy. The
Ran go
Secret Six, The
Photoplay Medal of Honor Ballot
Editor Photoplay Magazine
221 W. 57th Street, New York City
In my opinion the picture named below is the
best motion picture production released in 1931.
NAME OF PICTURE
J^lame-
Address-
Sced
Sin of Mad el on Claudct, The
Sin Takes a Holiday
Skippy
Smart Money
Smiling Lieutenant, The
Spirit of Xotre Dame, The
Star Witness, The
Strangers May Kiss
Street Scene
Susan Lenox, Her Fall and
Rise
Tabu
Tol'able David
Trader Horn
Transatlantic
Two Hearts in Waltz Time
Waterloo Bridge
Send
in
This
Ballot
Photoplay Magazine for April, 1932
Now! Girls! Here's Pep
For You!
[ CONTINUED FROM PAGE 71 ]
lot of letters from fat girls saying that they
have a birthday coming up and want some-
thing different to eat. So, for a special occa-
sion like a birthday or an anniversary (if the
two don't come in the same month), here's a
special diet — but remember this is for just one
day and it's only because I'm feeling big-
hearted.
Breakfast
One small glass grapefruit juice
Small portion of sponge cake with sliced
peaches, strawberries, pineapple or whatever
fruit you desire over it. And one teaspoonful
of Ih in coffee cream
Coffee without cream or sugar
Luncheon
A nice big salad of fresh fruits
Dinner
Six blue point oysters (no cocktail sauce,
just a little horseradish and lemon)
Roman lettuce salad, mineral oil dressing
and sliced onions
Asparagus
Broccoli
Beef a la Strogonoff (this the big surprise
and here's how it's made — this recipe is for
one person)
Small veal steak cut up in small cubes
One small potato cut up the same size as the
meat cubes
One sour pickle (cut up)
Two sliced pickled beets in cubes
One bunch of small green onions, sliced
One clove of garlic, cut up
Put this all together in a pan in which a
very little butter has been allowed to melt.
Add celery, salt and paprika and enough water
to keep it simmering over a slow fire until done.
When it is done turn off the fire and add a
big tablespoon of thin coffee cream.
And, oh boy, is this good! But how you'll
have to starve the next day to make up for it!
For dessert you can have pineapple ice and
a demi-tasse of coffee. But remember a birth-
day comes but once a year.
Now don't tell anybody that Sylvia isn't
good to you. I'm too darned good and I
know it. It's those letters — they made me
feel swell, but next month I'm going to light
into you plenty and tell you things about your-
self and ways to improve yourself that you
didn't think I knew!
April Birthdays
April
April
April
April
April
April 10
Stuart
1 — Wallace Beery, Mary Miles Minter
6 — Walter Huston
7 — Gavin Gordon
8— Yola D'Avril, Mary Pickford
>— Thomas Meighan, Carmel Myers
George Arliss, Tim McCoy, Nick
April 12— Virginia Cherrill
April 13— Tully Marshall
April 16— Charles Chaplin, Fifi Dorsay
April 19— Constance Talmadge
April 20— Harold Lloyd
April 24 — Marceline Day
April 26— Dorothy Sebastian
April 28 — Lionel Barrymore
April 30— David Manners
SISTERS,?.^ LrQftUU
§
IHEY'RE GREAT FRIENDS, these two
— doing everything, going everywhere together.
People think they're sisters — for mother has wisely
safeguarded her youth. She has never let gray hair
set her apart from her daughter — make her a
member of the "older generation."
Today there's no need to tolerate gray hair,
that makes you old and faded before your time.
Notox, the new scientific hair coloring protects you
from dreaded Heartbreak Age. Notox is undetect-
able— totally different from those antiquated "hair
dyes" that were rightly considered objectionable.
Instead of crusting the hair with a surface
plate of dye as do so-called "clear white restorers,"
Notox gently penetrates the hair and colors it inside
the shaft where nature does. Your hair remains
beautifully soft, fine and lustrous. Wash it, wave it,
expose it to the sunallyou like — Notoxed hair retains
its natural, even shade as permanently as nature's
own color!
Better hairdressers always apply Inecto
Rapid Notox. Resent a substitute — a like product
does not exist. Buy it at smart shops everywhere.
• Sendjorjree copy of the fascinating booklet "HEART-
BREAK AGE" — and avoid that unhappy time! We wilt give you,
iooAhe address oj a conveniently located beauty shop where you
may have your hair recolored with Notox. Write Dept. P-4,
Inecto, Inc., 55 W est 46th Street, New York.
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I 20
Photoplay Magazine for April, 1932
LOSES 24 POUNDS OF
PA" ' IN 31 DAYS
SAFE
SANE
EASY
QUICK
Depicting the captivating charm and physical
attractiveness which chic slenderness brings.
Thousands upon thousands of fashionable
women are increasingly placing their faith in
a half teaspoonful of Kruschen Salts every
morning before breakfast to safely lose excess
fat and give them a beguilingly slender, trim
figure — glorious health, new energy, strength
and great body activity.
Mrs. C. La Follette ofShepardsville, Ky. writes:
"I lake Kruschen and find it fine. Reduced 24
lbs. in 31 days. Ate all I wanted, 3 meals a
day. Feel like a new person."
An 85c bottle lasts 4 weeks and leading drugstores
the world over heartily recommend this pleasant, effect-
ive treatment. Many folks hasten results by going lighter
on potatoes, pastries and fatty meats.
Remember Kruschen is more than just a laxative salt —
it's a marvelous blend of 6 SEPARATE minerals which
help every gland, nerve and body organ to function
properly — then just watch excess fat gradually dis-
appear!
KRUSCHEN SALTS
this FREE
GUIDE
...to all the WEST.
Beautifully illus-
ed. Describes the
ncipal Western vaca-
l regions and National
rks. Chock-full of
ggestions that will
elp you find just
he vacation you're
looking for.
J.P.Cummins,Gcn*lPass*rAgt.,Room 265
Union Pacific System, Omaha, Ncbr.
Please send me a copy of "Western Won-
derlands" (no obligation).
N ame
Street-
City
State --
Grade in school (if student)
Short Subjects
of the Month
Chic Sale is just all worn out from readin' that great big
mail order catalogue. And after you've seen him in "The
Hurry Call" (reviewed below i, you'll be all worn out from
laughing at his funny antics. One of his best films
THE HURRY CALL
RKO-Pathe
This is a rip-roaring good comedy, by cracky,
with that fine old fellow Chic Sale at his
comedy best. It's fast and snappy and full of
laughs. And recounts the adventures of Chic
in a horse trading deal. Great stuff! And you
should not miss it.
MANHATTAN MEDLEY
Fox Movietone
Xew York at a glance — or a couple of
glances. The camera whirls from the subway
to the Empire State Building, from the lower
East Side to Park Avenue and back again,
picking out, on its way, intimate shots of folks
unawares. It is perfectly grand entertainment.
TORCH Y TURNS THE TRICK
Educational-Torchy
There have been funnier Torchy episodes
than this — but Ray Cooke is always good for a
few laughs and Dorothy Dix is a cute trick.
This time Torchy gets mixed up with foreign
nobility in order to get an important steel con-
tract signed.
SHAKE A LEG
Vitaphone
All the tried and true slap-stick tricks are
shown in this one about the butler and the
chauffeur who masquerade as gentlemen. It's
the answer to all you folks who wonder what
becomes of old jokes.
ZANZIBAR
Fox Movietone
Well, just take a look at that Sultan's palace
and all those funny narrow little streets! This
one has a swell opening scene carrying out the
Arabian Nights idea and is one of the decidedly
better ''Magic Carpet" travelogues.
THE IMPERFECT LOVER
Vitaphone
If you're one of those people who like
comedian Jack Haley no matter what he does,
you'll probably enjoy this little yarn about a
pale lad who wants to be a "what-a-man." But
it could have been much faster and funnier.
KEEP LA UGIIING
Educational-M crmaid
You'll be surprised to see an old friend in
this mildly funny comedy — none other than
Bryant Washburn. He is a prospective buyer
for Addie McPhail's defunct night club. The
best gag is a vat in the night club kitchen from
which the chef draws "everything but the
kitchen stove."
SCREEN SNAPSHOTS
Columbia
This is a sort of newsreel of the doings of
Hollywood stars — but it's quite entertaining
and intimate, particularly the scenes showing
how an accident, during the making of a Buck
Jones picture, actually occurred. There's a flash
of Maurice Chevalier returning to Hollywood.
STRANGE AS IT SEEMS
Universal
In the newest short of this entertaining
series you're given all the inside stuff about
how a frog's blood circulates, how Mexicans
make candles and how a Japanese carved a
statue of himself. Amusing if you're collecting
odd bits of knowledge.
BY-WAYS OF FRANCE
Fox Movietone
The bootlegger is going to have a tough time
selling you "real French wine" after you see
this short. For here is wine in the making —
and the grapes are pressed by peasants' feet.
But the film, as a whole, is beautiful photo-
graphically and scenically.
CURIOSITIES
Columbia
A grand hodge-podge of weird and interest-
ing shots ranging from the strange Winchester
house which took twenty years to build and
has 4.000 windows, to a canary that sings
"Yankee Doodle." And a lot of other things
are sandwiched in. You'll like this.
Photoplay Magazine for April, 1932
121
Brickbats & Bouquets
[ CONTINUED FROM PAGE 16
GRETA VS. CONNIE
Constance Bennett high-hat? I don't see
why people can say that when Garbo is around.
Of all the high-hat people Garbo is the worst.
Why doesn't she be nice, for a change, and be
interviewed? Certainly giving ten minutes of
her time to a group of reporters couldn't hurt
her. Miss Garbo should remember that those
people are only fulfilling their jobs and aren't
any more interested in talking to her than
she is in them.
Ernest Mount, Albany, N. Y.
'RAY FOR POLA
As exciting and as flaming as the actress her-
self is Pola Negri's first talking picture "A
Woman Commands. " She speaks with an
agreeable, throaty and strongly -accented voice;
she sings her songs with an appeal that adds a
touch of piquancy to a warmly wrought char-
acterization; and she whistles astonishingly.
Samela Kay Pankhurst, Seattle, Wash.
MADGE AND ROB
In "Lovers Courageous" Madge Evans is
the perfect leading lady for Robert Montgom-
ery— less of a siren than Garbo, less mature
than Norma Shearer. She is as gay and as
youthful as he is. She reminds me of Dorothy
Jordan but is more poised.
Mary Gilbertson, Hartford, Conn.
COME ON, THEL!
I am a keen admirer of Thelma Todd and
the revealing article about her in the February
Photoplay will, I hope, focus deserved atten-
tion on this able star. Why the foreign impor-
tations when native ability of so high an order
remains largely unrecognized?
A. R. Bush, Westfield, N. J.
EARTH'S FOUR CORNERS
This is a bouquet from India. It ought to
be withered, for it has traveled such a long
way, but even dead flowers will revive and re-
gain their one-time fragrance when laid at the
feet of Janet Gaynor and Charles Farrell — the
world's most charming pair!
F. I. Elias, Calcutta, India
My uncle visited us recently and all the time
he raved about hearing Titta Ruffo sing in
the talkies. He called it the greatest thrill of
his life and saw it three times.
George Tori, Paris, France
Norma Shearer in "A Free Soul" is un-
doubtedly one of the best pictures I have seen
for a long time but even though I do like low
necked, tight fitting dresses as much as any
girl, I believe that Norma would be far more
attractive if she weren't so scantily dressed as
she has been in her last few pictures.
Isabella Drew, Guatemala, C. A.
After hearing Ramon Novarro sing in "The
Call of the Flesh" and some other talkies, I
do not think it fair to his many admirers that
he should be put in pictures where he does not
sing. He is the only film star who has a per-
fect singing voice.
Po Chun, Hong Kong, China
You have a marvelous new star in the mak-
ing, I believe. Her name is Wynne Gibson
and she appeared with William Powell and
Carole Lombard in "Man of the World."
Mrs. E. G. D. Wright, Brazil, S. A.
I am an American woman married to an
Englishman and I almost hate to go to the
Date broken because of bad
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So ashamed of her
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talkies, for staring at me from the screen are
Americans I never knew existed — people who
talk a strange "language"; men with guns on
their hips; women, half naked, who change
their gentlemen friends as they change their
gloves; wisecracking creatures, squabbling and
bickering. All around are English people, who
do not travel as extensively as Americans do,
snickering and wondering what it is all about.
I was asked at a dinner if it were true that
such a state of affairs really existed.
Mrs. Fred Wooster, London, England
I was glad to hear that Joan Crawford has
returned to her natural hair coloring.
Patricia Whallin, Adelaide, So. Australia
To judge by American movies the U. S V
must be about the most uncivilized country in
the world today. The people appear to have
no morals and treat the marriage vow as one
made to be broken. Although you have pro-
hibition, the people seem to defy the law and
drink like fish. The newspaper reporters are
the last word. They'd spend their lives in
jail over here if they used the same tactics
with our citizens.
Phyllis Hanna, Belfast, Ireland
All my life I have been the victim of an in-
feriority complex. I sought the friendly dark-
ness of the cinema. I became an inveterate
film fan. From the films I learned to put on
a brave front. I forced myself to have com-
panions and laughed the loudest when the joke
was against me. Today I have a new person-
ality and I owe it all to the films.
James Morax, Paisley, Scotland
Life would have been very dull for me, while
I was traveling in out-of-the-way places, had
it not been for the fact that I could find a
movie theater to go to.
S. Mendes, East Bermuda
CAN GAYNOR ACT?
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What I can't understand is why people are
always raving over Janet Gaynor. It is true
that she is a sweet little thing — but as for
being an actress, why, she can't hold a candle
to Sally Filers and a lot of others. We want
real acting, these days, and not just a sticky
smile and a little piping voice.
May Andrews, St. Louis, Mo.
ODD SHOTS
I have read of the rise and fall of actors both
good and bad, but time will not affect that
truly great artist, John Barrymore.
Miles Killmar, Hancock, Mich.
Gene Raymond is by far the best looking
blond actor on the screen and how about some
producer waking up and giving Dorothy Jor-
dan a chance to show her ability?
Edith Simpsox, Houston, Texas
As long as Photoplay continues its present
policy of offering the best, I will continue to
buy it — even at the risk of appearing foolishly
extravagant, in these times of universal de-
pression.
P. S. Lippold, Baltimore, Md.
Xow that Buddy Rogers has deserted the
pictures, my only reason for attending the
movies has vanished.
Eleanor Andrews, Detroit, Mich.
What has happened to Richard Barthelmess?
He is such a good actor but such a long time
lapses between his pictures that one almost
forgets. You can have your Clark Gable and
your Robert Montgomery, but give me Dick
Barthelmess.
Eleanor Adama, Portland, Me.
Every picture in which Jean Harlow plays
is better and better.
John Puttman, Green Bay, Wis.
Let's have more of Melvyn Douglas. He
was great in "Tonight or Never. " For once
in her life Gloria Swanson had her picture
stolen. Why not make him Garbo's leading
man? They would be swell together.
M vriiia Reeder, Gallnup, 111.
Richard Cromwell was fine in "Emma".
And he thought he wasn't good looking enough
to enter pictures! He makes some of them
look like freaks. There's something written on
his face. I think it's — stardom!
Bill Mutton, Dayton, Ohio
I think that Janet Gaynor and Jimmie Dunn
would make a better team than Janet Gaynor
and Charlie Farrell.
A. Iwanaga, San Francisco, Calif.
My PHOTOPLAY gets into the hands of five
families and all enjoy the magazine as much
as I do.
Richard W. Cain, Little Falls, X. Y.
Photoplay's covers are the best of any of
the other magazines and I cut out the faces
and save them. I am going to make a screen
of the faces when I have enough.
Elizabeth Schi.aferm a v.
Atlantic City, X. J.
When a new star gets too much publicity,
his producers get careless and cast him in in-
ferior roles.
Mrs. Alice Lintxuist, Evanston, 111.
I have just read the article "Will Marlene
Break the Spell" in the February Photoplay.
Such gossip about changing her methods alarms
me, because I consider "Morocco" the most
nearly perfect of any talkie ever presented to
the American public.
Mrs. H. S. Morris, Philadelphia, Penna.
No star, no matter how pleasing, is big
enough to carry a mediocre picture.
R. E. Bush, Oakland, Calif.
If Hollywood would just meet Connie Ben-
nett half way I'm sure they would find her
most charming. Give her a chance! But
please, Connie, don't let them think you are a
snob.
Mrs. Petra Ringer, Los Angeles, Calif.
JOAN'S HUSBAND, DOUG
Douglas Fairbanks Jr. should stick tb being
just Joan Crawford's husband and not try to
act. His father is a better actor than he is
any day. Joan had better give young Doug a
few lessons. How could anybody have im-
agined that he could have played a young
ne'er-do-well in "Union Depot"? Once I ac- -
tually heard him say "cawn't. "
Leslie Mortan, Mobile, Ala.
CONNIE AGAIN
Much has been said about Constance Ben-
nett's education, culture and " finish. " But an
article in Photoplay relates that she expressed
her displeasure when the Marquis fumbled with
the wedding ring during the ceremony and
that she criticized her guests. Such deport-
ment does not come under the head of culture
and our best people are never rude and never
so primitive as to indulge in violent outbursts
of temper.
Just what is all this "hooey" about Miss
Bennett's early training?
Mrs. R. E. Soules, Marietta, Ohio
DOMESTIC BLISS WANTED
I'd like to see these Hollywood stars make
a go of their domestic lives. When we see a
particularly good love scene on the screen it all
seems so realistic until we remember that many
Hollywood marriages go on the rocks every
year. It disillusions us!
Margrette Folk, Phoenix, Ariz.
Photoplay Magazine for April, 1932
I Remember!
[ CONTINUED FROM PAGE 62 ]
young man does his stuff, almost unnoticed.
Oh, that Ruth Chatterton! Ronald Colman.
1924. What a party this is! The small ball-
room of the Carlton Hotel in Washington is
packed with gay, handsome, well-dressed people.
We're celebrating the opening of a new play — I
think it's "The Garden of Eden," or something.
I find myself at the bar, with a hot dog in one
hand and a glass of champagne in the other.
Next me is the leading woman — young, almost
skinny, blue-eyed, with a mop of rebellious
silver-blonde hair. "Lawd, I suah hope this
goes to Nyew Yawk!" "Well, here's to a long
run !" I say. We drift apart. The play flops
dismally on Broadway. Miriam Hopkins.
1930. A hundred and fifty people cram a
large apartment in Greenwich Village. We're
joyfully hailing the huge success of brilliant
Sam Jaffe in the hit drama, "Grand Hotel."
It's just after the premiere, and we are all
madly gay. What a racket! A short, stocky
figure in impeccable dinner clothes enters the
room. A mop of jet black hair above a round,
gentle and smiling face. But the brown eyes
Mr. Bennett's little girl, Joan, is look-
ing very imposing in this unusual
white satin evening wrap which she
wears in "Widow's Might." The coat
is cut on form fitting lines to below
the hips, where it flares out. That
scarf collar of brown fur is clever be-
cause it opens up to form a jacket
effect. Those wide cuffs of fox are
dramatic, too
Beautiful Betty fompson
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1'iiofoPLAY Magazine for April, 1932
can snap. He's surrounded at once by friends.
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her. Sings the songs, dances for laughs. He
ambles off. The crowd laughs and applauds.
What's next? Ernest Torrence.
1927. Why do we have to go to the theater
on a hot night like this? They're putting on a
big revival of the old shocker, "Within The
," at the Cosmopolitan Theater, Xew
York. Look— there's the veteran Robert War-
wick! And Charlie Ray, of all people! And
who's this dark-haired darling? Isn't she a
peach? And what legs — probably the prettiest
that ever twinkled back of the footlights!
Thank goodness I'm a dramatic critic, and rate
the third row on the aisle! We'll hear more
from that baby-doll ! The old play rattled on —
how Mary Turner docs suffer! Those legs!
Claudette Colbert.
1919. Whoopee, and how! It's a big night
at the Cleveland Opera House. A young ex-
soldier has beggared himself to get a seat in
Row A. The show is "The Xight Boat" —
some fun, after France. Look — Louise Groody,
Hal Skelly, all that gay and famous crew of
Dillingham stars! Snappy dances, pretty tunes.
Laughs. The chorus flutters out, dressed in
Scotch kilties. A tall, awkward, half bald
Scotsman with a comical face leads the num-
1925. It's a Shubert musical show, finishing
a long road trek at Poli's in Washington. Oh
boy — here come the big shots! Gallagher and
Shean— "O Mr. Gallagher, O Mr. Gallagher!"
It was stale cookies even then. A curvy, big-
eyed girl comes on to foil for their ten-cent
gags. She has a comic French accent, and not
too many clothes — and that's all right with us,
for she's a pippin for looks. Ho hum — just
another pretty piece of driftwood on the tide
of show business! Just a shapely helper for a
couple of famous comics. Going no place,
probably. Fifi Dorsay.
1922. Well, this is probably the best "Fol-
lies" yet! Some troupe! Ziegf eld's Xew Am-
sterdam Theater is at its best — packed with
happy people to see the great girl show. The
superb girls slither off, and a long, gangling
figure ambles before the curtain. Wearing
chaps — chawing on something. He twirls a
rope, drawls inconsequential gags that leave
me stiff and clammy. What the hell! Do your
three minutes and get off! Bring back the
girls! Let Gilda Gray start to shiver to " 'Xeath
the South Sea Moon!" We crave action! Will
Rogers.
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LIFE'S DARKEST MOMENT— The family picture
of her secret passion is published in a movie magazine
Copyright 1932. New York Tribune, Inc. Courtesy New York Herald Tribune.
Photoplay Magazine for April, 1932
125
! ! Tallulah ! !
[ CONTINUED FROM PAGE 47 ]
of England. She's spent every cent just as
she spends every ounce of the most tremendous
vitality I have ever seen in a woman — not
barring Lupe.
Tallulah and Lupe. If they should meet —
whoops! But they won't. Hollywood would
never be so cruel as to put them in the same
room together.
One would have to leave. And the exit
would not be voluntary.
Does this lovely young lady look
familiar to you? No, she hasn't ap-
peared in a picture yet but you have
probably seen her photograph more
often than Garbo's. Gwih Andre has
been for three years the most sought
after artists' model in New York.
Her face has graced dozens of maga-
zine covers and she has posed for
hundreds of Parisian gown advertise-
ments. Now, she's going to see how
it feels to face a motion picture camera.
Under contract to Radio Pictures, she
is five feet, six and hails from Copen-
hagen. What! Another Norsewoman?
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Hollywood
IsW
eann
by Seymour
•)•)
RECENTLY, a very smart party was
given at the Embassy Club. Minna
Gombell was there in a red crepe crea-
tion, made with a trick crossing of the bodice
very low at the back, where a huge buckle
caught up the ends in bustle effect.
Joan Marsh was another who was "bustling"
about. Her dress, also of bright red crepe,
was draped up in back to form a bustle.
Rhinestone clips trimmed both shoulder straps.
Red, incidentally, was the big color. And
not a retiring red, either, but what used to
be called "fire house red"!
"D ETTE DAVIS, who looks more like Connie
■'-'Bennett every day, wore a dark blue crepe.
It was closely fitted to the figure and cut
round and low in back. Tiny twin shoulder
straps were a new touch.
Everyone seems to be reviving those large
hairpins of brilliants for evening. I see them
tucked into the soft waves of the hair — and
they are mighty attractive.
TOAX CRAWFORD appeared at a recent
J first night looking radiant in a snugly fitted
black crepe gown which was quite unadorned.
She wore very smart black sandals and a long
ermine coat.
Of course, you know that buttons are very
much in the style picture at the moment.
Madge Evans is getting credit for launching a
vogue for buttons which are monogrammed.
Her initials, ME, caused quite a furor when
worn on a smart costume recently — or should
I say when buttoned on to a smart costume?
Adrian, the well-known Hollywood designer,
says that Joan Crawford's severely tailored
clothes have started a new trend toward
simplicity — fussy furbelows are out.
T3ARIS is having heated arguments these days
■*- on daytime skirt lengths but Hollywood has
serenely adjusted its skirt to a "nine inches
from the floor" length and let it go at that ■
This is considerably longer than it has been.
Evening clothes vary from instep to ankle
length.
\_\7HEX Kathryn Carver Menjou was in St.
*» Moritz she appeared at a dinner party
dressed in brown jersey trousers topped by a
tuck-in blouse and a brown jacket piped in
orange.
In Paris, Marise Beaujon, a stage favorite,
appears in her new play wearing a jacket with
only one sleeve. Remember when Gloria
Swanson was considered bizarre because she
tried this stunt in "What a Widow"?
(f~*iXE of Garbo's "Mata Hari" costumes has
^'been copied by a dress manufacturer. It
is changed slightly, of course, but you would
know it immediately.
Joan Bennett wears twenty-two bangles on
her arm in one scene of her new picture.
"Widow's Might." Watch and count them!
T ILVAX TASHMAX certainly had the fans
-'-'agog with her personal appearances in the
East. Xeedless to say, she knocked 'em cold
with her clothes. She made a dramatic en-
trance in gold colored pyjamas, the legs of
which formed a train. The back was cut very
low and over one shoulder and down to the
waist cascaded bright green flowers in exotic
bloom. In her hand she carried a green chiffon
handkerchief big enough to use as a luncheon
cloth!
A SAPPHIRE evening gown topped by a
■**■ red jacket is one of the current evening
favorites. The sapphire shade is more dulled
than that of former years.
Although Ruth Chatterton believes that too
rigid adherence to a favorite color or co!
an obstacle to chic, she herself has three
preferences — black, white and a lipstick red.
Unknown Hollywood I Know
CONTINUED FROM PA
nice; and the only difference between the line
of demarcation in Hollywood and any other
town is that the Hollywood line is blurred.
They work and play side by side — these people.
They are all a part of one small town. The
film folk know what goes on, but they won't
tell — except to one another.
There are hundreds and hundreds of charm-
ing, delightful people in the film capital whose
lives are not and never will be touched by the
lingers of scandal.
There are also scores who miss the un-
wanted publicity by a hair's breadth and some-
times do not miss it at all.
TT was not very' long after I left the publicity
-•-department of M-G-M and joined the Holly-
wood staff of Photoplay, that pictures began to
talk and I bow my head in shame as I remember a
conversation I had with a director over a
couple of cups of coffee in Henry's one day.
We began to speak of this new device. "Are
you for or against talking pictures?" the di-
rector asked me. And I blithely answered,
"What do you mean, for? The thing is a fad,
a novelty that can't last. The machine is
imperfect — why, the voices of the actors sound
as if they were coming from their hip pockets.
You can't begin to do in talking pictures
what could be done in silents. The voices
split your eardrums and the actors lisp. All
art is gone from the cinema. But there's no
use taking the thing seriously when it is
doomed before it begins."
That director is a nice guy. I see him often
and he has never once said, "I told you so."
But that little device that I dismissed so
perfunctorily was soon to throw the whole town
into a panic. Old time extra boys and girls
were out of jobs, chorus girls were thick as
Photoplay Magazine for April, 1932
Embassy soup, song writers arrived in Holly-
wood in schools, droves and herds. That one
small, round instrument, the microphone,
turned a fairly peaceful city into a mad, topsy-
turvy world.
Great stars were brought from the stage —
some remained, some returned.
There were voice doubling, secret me-
chanics. Great stars of the cinema were tossed
aside to make room for the new arrivals.
I can't begin to go into all the ramifications of
the talkies.
The town was in a furor.
You know many of the tragedies and suc-
cesses for which the talkies were responsible.
One of the most amazing was the defeat of
Nils Asther.
HERE was a lad from whom everything was
expected. Before talkies it was said that he
would wear Jack Gilbert's crown. (We did
not know then that Gilbert's headgear would
fall off when it hit against a microphone.)
Nils was the big shot of the M-G-M lot, as
great a sensation for a short space of time as
Clark Gable is today.
Then came the talkies.
They thought accents wouldn't register
(they have since discovered their mistake) and
Nils was out.
Nils was one of the most interesting, one of
the most amazing men in Hollywood.
I wrote his life story for Photoplay at the
time when life stories were in vogue. He was
riding the crest of that wave, which has made
many a man seasick. I had known Nils for
some time, rather casually, but I never quite
got at him, even when I was doing the life
story.
I saw him several times to get all the details
of that fascinating yarn. I wrote the story,
setting down the facts and trying to catch
something of the Asther spirit. But I never
really knew Nils Asther.
I watched him speak of his friends in Sweden,
heard him tell about that fascinating place
that he and a group of fellow artists bought off
the coast of the peninsula, a virgin island
where they lived without an electric light or a
telephone or even a razor. I heard his voice
grow low and throaty as he mentioned the
place, in a hushed and reverent tone almost as
a girl speaks of the spot that witnessed the
first tryst with her lover.
What this island meant to Nils I shall never
entirely know. But I do know that within
the lad there were great fastnesses that I nor
any other American (with the possible ex-
ception of his wife, Vivian Duncan) could
penetrate.
Even when he was off-guard, even when he
was speaking of the most intimate things — he
held back either because he could not speak of
these things or because he was afraid I would
not understand.
Humorless as he is, he has in spite of this, a
piquant flare for the unusual. The last
evening we were together, when the life story
was ended, we sat before a blazing fire in his
living-room. We had just dined on a seven-
course Swedish meal, had smoked his specially
blended cigarettes and were, at the moment,
commenting on the smoothness of the high-
balls his house boy had mixed. Casually, I
remarked that it would quite complete the
cosy picture if the sound of rain were to be
heard against the window panes.
XJILS arose, excused himself politely, left
•*- Mhe room for a few minutes and returned
shortly.
Immediately, I heard the sound of water,
not pattering gently but splashing against the
windows in a torrent.
''Good Lord," I cried, "you're a swell host,
. Nils, and all that, but don't tell me you've got
heavenly drag that can turn on the rain for
' you."
Nils laughed. Later I learned he had in-
structed his house boy to stand in the patio — •
and it was a chilly night — spraying the win-
, dows with the garden hose. What the boy
thought when Nils made this unusual request
I shall never know.
Now Nils is all set for a comeback, I'm
glad to say.
THERE was another foreigner whose career
might have been nipped by the talkies had
not illness done it before the microphone. How
shall I talk of her?
What words shall I use to describe one of
the most enchanting, whimsical, delightful
women who ever lived?
I know her so well and I love her so much
that it is difficult for me to write of her without
becoming maudlin and sentimental. But I can
think of only one word for Renee Adoree. That
word is "dear."
She is such a darling, such a sweet and
lovely thing.
Our friendship started in the M-G-M days.
And a pang of loneliness touches my heart
when I think of the mad, crazy good times she
and Dorothy Sebastian and I had together.
Hundreds of pictures of complex little Renee
crowd my mind.
I believe Renee Adoree to be the greatest
actress of them all, an actress who should have,
after "The Big Parade," scaled the topmost
heights, but one who failed to do so because
she either would not or could not play the
political game the studios play.
She tossed away upon her friends the time
and energy she should have given to her work.
She was a creature of the most intense moods,
which ran from gayety to devout religious
moments.
I have written much about Renee, but what
I have never told before is the courageous
thing she did just before she went to the
Arizona sanitarium.
She had been sick for months. She had
tried to take care of herself, had tried to listen
to the warnings that the doctors and Dorothy
Sebastian and I gave her, but it was impossible
for her to rest when she was at home.
When guests called, she felt it necessary to
entertain them rather than be entertained by
them.
Therefore, she became steadily worse, but
in spite of this took a role in Ramon Novarro's
"The Call of the Flesh." What it cost her
to go through that picture, no one but her
intimate friends ever knew. But she went on
because she felt she must.
It climaxed in one of the most dramatic
episodes that has ever been enacted off-
screen in Hollywood.
One day she was so ill that a doctor was sent
for. He came on the set and said to the
director, "If you do not let me take this girl
away at once, I shall not be responsible for her
life." The director was a kindly, sympathetic
man, but he knew that if Renee left at that
moment he would have to re-film almost the
entire picture at a terrific cost. Quickly, he
ran over in his mind, Renee's remaining
scenes, figuring out what ones could be done
by a double, what ones could be cut out
entirely and what ones were absolutely nec-
essary.
At last he said, "If you let me have her for
just one half hour I can finish."
"("^KAY," said the doctor, "one half hour."
^'He pulled out his watch, "but not a
second longer."
Cameras were hurriedly moved up, micro-
phones were quickly adjusted. Without a
rehearsal, Renee went into a close-up. As she
worked she became terribly ill, but she did
not show it.
Her face played the emotions which the
scene demanded.
Simultaneously, three things happened.
The doctor shouted, "The half hour is up."
The director shouted, "Cut — that finishes
Renee's stuff."
And Renee, herself, keeled over on the floor
in a faint.
She was carried off the set. It was the last
work she has done, but she proved of what
trouper's stuff she is made.
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wouldn't think of using ordinary soaps.
She uses Golden Glint Shampoo
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Photoplay Magazine ior April, 1932
Several weeks later she was taken to the
Arizona sanitarium. I say she was taken —
a nurse accompanied her, but Renee was on
her feet. She weighed just eighty-seven
pounds. Her clothes hung on her. The train
pulled out at 11:15 at night. Five of her oldest
and best friends were there to see her off. We
all tried to be gay, but none of us had ever
been so miserable.
As we saw that pale, small hand waving us
goodbye, we all turned away from each other
and as Howard Strickling and I walked back
to the car I said, "Howard, we will never see
Renee again."
We knew she had courage, but we thought
it was an active courage. We knew she could
do anything under stress of circumstances, but
we did not believe that she had the stamina
to remain for a year upon a hospital bed, to
obey doctors' orders, to give up everything she
had had.
HPHE first time I visited her in Arizona, the
*■ doctor told me he despaired of her when she
first arrived. "She does not know the meaning
of the word 'rest,'" he said. "I tell her to
stay in bed, but if there is something across the
room she wants, she gets up and gets it.
However, I do believe we're coming along."
A few months later I went to see her again.
I saw a different Renee — radiant, plumper by
twenty or twenty-five pounds, beautiful and
with a depth of character she had not had
before.
You may think that her playing a scene
when she was too ill to hold up her head was
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courageous. So it was. But infinitely more
splendid is her remaining in the sanitarium for
over a year.
That Renee. used to gayety, to self-indul-
gence, to doing exactly as she pleased, could
give all that up and obey orders (she had never
obeyed anyone before) proves that she's got
the stuff of which great heroines are made.
That's the biggest thing Renee has ever
done.
A ND here's the glorious sequel, the fine re-
■**-ward. In a few months she will leave the
sanitarium. After another few months' rest
she will be perfectly well and ready to resume
the career that I know is awaiting her.
And now she has so much more to give
the screen.
Those long, dreary, disheartening month
have shown her a new side of life. The sani
tarium has changed Renee from a charming
dear child into a fine vital woman. If Rene
isn't given a chance to do a big comeback upon
her release, then I'll know that all producers
are fools.
What is the inside of this inter-
viewing business? Why do stars
talk so intimately to reporters?
Next month I'm going to tell you
how interviews are secured — al-
though I shouldn't be giving away
state secrets. I've some swell yarns
about Lupe Velez, Alice White, Bill
Powell, Gary Cooper, Mary Astor
and others.
$750,000 and Danger
[ CONTINUED FROM PAGE 42
But she's so trained it — with her technique —
that, today, even the keen, dissecting eye of
the camera seldom catches it.
'"TAKE the way Ruth arrived on the set that
*■ first morning. A call for eleven o'clock.
The great Ruth Chatterton's first appearance
in the new studio! Bette Davis was wondering
whether Ruth would remember that they had
met once at a social gathering. John Miljan
was wondering just what he could say to show
his appreciation of the opportunity she had
given him for a sympathetic part in a picture.
Director Al Green knew her only casually.
At exactly eleven — limousine, chauffeur,
maid, and Ruth. The cast craned their necks.
They went through the introductions. Ruth
was marvelous. Said just the right thing at the
right moment. The perfect drawing-room
manner. So perfect that, in what seemed only
a twinkling, everyone on that set was saying
either verbally or mentally, "Yes, Miss Chat-
terton."
When he started his first scene the director
said, " Is that all right, Miss Chatterton? Does
it suit you?"
Ruth nodded. The perfect queen.
I repeat, I think Ruth was as nervous as the
others. At least, she knocked over a glass of
water, necessitating an entire re-setting of the
table. But she made nothing of it. Such a
little thing. A casual "I'm sorry." Again, the
perfect poise — too perfect.
When Ruth first went into pictures she was
a heart-broken woman. New York — the Xew
York which had adored her for years — had
almost forgotten her. She had been at the top.
"Daddy Long Legs," "Come Out of the
Kitchen." I will never forget them.
Today, I have been reading the interviews
given by Ruth Chatterton during the past two
years. To one writer she gave a definition of
sophistication; to another, one of Hollywood;
another, of acting. Clever, pat, definitions.
In 1929, she told our own Katherine Albert,
"What you play on the stage or screen has
nothing to do with the sort of person you, your-
self, are. Great changes come into the lives of
actresses and, if they're good actresses, these
personal crises do not affect their perform-
ances."
I would like to write my friend Ruth a letter.
If I did, I would say:
Ruth, what we do in life affects every part of
us. If we love, we are inspired; if we hate we
are poisoned! Jealousy taints our system as
surely as does ptomaine. And you say that an
actress' life has nothing to do with her per-
formance? If you have really trained yourself
to believe that — there is no reason for me to go
further. You have given yourself your own
warning.
But, just a moment! I don't believe it. I
know you too well. Recently, you lost a
valued friendship. All the emotions within you
rose to torment. If you could only have made
a picture at that moment! I'll lay a wager
that your perfect enunciation, which has be-
come just a little monotonous in its perfection,
might have turned a little incoherent. A
delightful, human incoherence. How the
public would have adored it in you!
ISO hoped you'd show you were scared to
death on the first shot of your picture ! I'd so
hoped Al Green would order you about — tell
you what he wanted on the screen — instead of
yessing you as though you were a De Mille of
the grandeur days of the movies.
Your emotions in your early pictures did not
betray technique. They seemed to come from
the heart, not the mind. In those days you
were not philosophizing about life. You were
seeking a way to live it. And you were twice
the actress that you are today.
It is not too late. You have technique as few
have it. You have lived life as few women.
But if you do not give us humanity and heart-
felt emotion on the screen, all the "best
sellers" ever written will not help.
You are one of the really great actresses.
Come back, and all is forgiven. The screen
needs the Ruth Chatterton of those three first
pictures.
Photoplay Magazine for April, 1932
12(
Brief Reviews of
Current Pictures
I CONTINUED FROM PAGE 13 ]
STRUGGLE, THE— United Artists.— Old Massa
D. W. Griffith has lost his cunning with the mega-
phone and this old-fashioned, phony, "Face on the
Barroom Floor" melodrama is a sad spectacle for
those who remember "The Birth of a Nation." (Feb.)
STUDENT'S SONG OF HEIDELBERG, A
(Ein Burschenlied Aus Heidelberg) — UFA. — Rol-
licking tunes, students and Heidelberg campus stuff.
Even if you don't know German you'll enjoy it. {Nov.)
SUICIDE FLEET— RKO-Pathe.— The war on a
wit and wisecracking basis with Bob Armstrong,
jimmy Gleason and Bill Boyd as the familiar Three
Mus..etcers — this time in the Navy. (.Jan.)
SUNDOWN TRAIL— RKO-Pathe.— Good acting
hell? a poor Western. (Oct.)
SUNSET TRAIL, THE— Tiffany Prod.— A blonde
in distress. Ken Maynard saves the situation with
gun and fist. And there you arel (March)
SURRENDER — Fox. — Warner Baxter and Leila
Hyams just work their fingers to the bone trying to
make you believe this story about a French officer im-
prisoned in a baron's castle. (Jan.)
TAXI — Warners. — The lowdown on the taxi-cab
racket, with James Cagney and Loretta Young.
Well-done. (Jan.)
TERROR BY NIGHT— Famous Attractions.—
Bet you can't guess before the last reel who did the
murder. A good mystery with comical Una Merkel
and ZaSu Pitts. (Dec.)
TEX TAKES A HOLIDAY— Argosy Prod.— This
story of a Mexican cowboy wanders here, there and
everywhere. But it wanders in color, which is a help.
march)
Here's old Mammy Merkel all done
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SUBSCRIBE FOR PHOTOPLAY SK«"S AVAV"" "'■"""
r-30
Photoplay Magazine tor April, 1932
OUR readers are constantly asking for new photographs
of their favorite motion picture stars and we are
pleased to announce that we have just received new
pictures of the following ten players:
Constance Bennett
Joan Crawford
Marlene Dietrich
James Dunn
Clark Gable
Greta Garbo
Miriam Hopkins'
Fredric March
Robert Montgomery
Norma Shearer
We are sure you would be pleased to have these pictures
to add to your collection. These beautiful prints, which
are 8x10 in., can be obtained for 25c each — or you can
get any four of those listed FREE by using the coupon.
We have a limited number, so send in your order today.
Photoplay Magazine,
919 N. Michigan Ave..
Chicago, Illinois.
Am enclosing $2.00, please send me the next eight issues of PHOTOPLAY and
photographs of the four stars which I have listed.
Names of Stars:
NAME
ADDRESS
CITY STATE.
Canada and Foreign 50c extra.
THIRTY DAYS— Patrician.— A wealthy tene-
ment owner plays the regeneration scene in jail.
Hetty Compson and Maureen O'Sullivan make it en-
tertaining. (Jan.)
THIRTEEN MEN AND A GIRL— UFA.— A
dreary tragedy. Foreign made. English dialogue.
(Oct.)
THIS MODERN AGE— M-G-M.— Joan Craw-
ford lovely and dripping box-office appeal in a
ridiculous story.
THIS RECKLESS AGE— Paramount.— In spite
of a grand cast (including Richard Bennett) this
came too late. The jazz age is pretty cold. (March)
TIP OFF, THE— RKO-Pathe.— Fresh guy Eddie
Quillan gets mixed up with gangsters and a sprightly
comedy is the result. (Jan.)
• TONIGHT OR NEVER— United Artists —
A Gloria Swanson vehicle that sizzles and burns
with snappy love scenes. And there's a new
appeal lad named Melvyn Douglas. For the so]
cated. (Jan.)
• TOUCHDOWN — Paramount. — A football
picture that's different — with inside stuff on
crooked methods used. Dick Arlen and Jack Oakie.
(Jan.)
TOMORROW AND TOMORROW — Para-
mount.— A grand but conversational stage play
makes a rather dull "moving" picture. Ruth Chat-
terton and Paul Lukas. (March)
TWO KINDS OF WOMEN— Paramount.—
Miriam Hopkins is in it. So is Phillips Holmes. The
story is weak but the acting isn't. (March)
TWO SOULS fZwei Menschen)— Cicero Prod-
Heavy drama and bright spots in the Tyrolese
country neatly combined. English titles make it un-
derstandable to those who don't speak German.
(March)
*24 HOURS — Paramount. — It's not only good
but different. Kay Francis and Clive Brook
are grand. (Nov.)
UNDER EIGHTEEN— Warners— A neat little
picture. Marian Marsh's first starring one, about an
innocent cloak model and a rich client. (Feb.)
UNEXPECTED FATHER, THE— Universal.—
Another little girl adopts a bachelor daddy. Ho-
hum! Four-year-old Cora Sue Collins toddles off
with the honors. (Feb.)
UNHOLY GARDEN, THE— United Artists.—
Far-fetched melodrama and romance in a Sahara
castle, with Ronald Colman working hard to save
the impossible story. (Oct.)
UNION DEPOT— First National.— Bits of life as
you see it in a railroad station. Doug Fairban-,
turns in a splendid performance, one of his best. (Feb.)
U. S. C.-NOTRE DAME FOOTBALL GAME,
THE — Sono Art-World Wide. — If you're a football
fan. you must see this visual account of one of the
greatest sports events of all time. (March)
WAY BACK HOME— Radio Pictures.— If yon
follow Seth Parker on the radio, you'll enjoy seeing as
well as hearing him. He uses all his radio stuff. (Dec.)
WEST OF BROADWAY— M-G-M.— John Gil-
bert's voice is low — so is the entertainment value of
the picture. Jack is a war veteran with six months
to live. (Oct.)
WHITE DEVIL, THE— UFA.— Russians in big
fur hats are doing serious things again. You need not
bother. (Nov.)
WICKED — Fox. — Elissa Landi and Victor
McLaglen are good in a too heavy drama about a
bank robber and his wife who go to jail. (Oct.)
WOMAN COMMANDS, A— RKO-Pathe— Pola
Negri in her comeback film is beautiful and alluring,
but the story is trite and impossible. See Pola,
anyhow. (Feb.)
WOMAN OF MONTE CARLO, THE— First
National. — Lil Dagover bows to American audiences
in a weary, over-talkative drama. Lil could do better
with better material. (Feb.)
WORKING GIRLS — Paramount— Two beauti-
ful country' blondes learn about life in the city. But
not even Paul Lukas and Buddy Rogers can make the
story and dialogue seem real. (Jan.)
X MARKS THE SPOT— Tiffany Prod— Another
gangster-newspaper story' inspired by the Lingle case.
Pretty poor, except for a terrific climax. (Jjn.)
YELLOW TICKET, THE— Fox.— Russia befon
the revolution. The heroine fights for her honor. Old
stuff made worthwhile by Elissa Landi and Lionel
Barrymore. (Jan.)
Just What Makes
Them Click
[ CON'TIN'UED FROM PAGE 31 ]
particularly, the complete obedience of her
mouth to her control of emotion. If you watch her
nnuith right through, you find you'll never be
led, and that's rare, for everyone's mouth
Dearly always offends sometime or other.
That asset, on Garbo's part, is unquestion-
ably cultivated — studied control. Any girl can
do it, who has sufficient quality of feeling.
Control of facial features is a huge Garbo
asset. Not alone hiding true feelings, but sub-
stituting the artificial facial evidence of
emotions that do not exist. Garbo's face tele-
graphs every thought she wants to put over,
always with restraint — but whether it actually
exists within her is another question. It did at
some time. And that, too, is an asset that any
woman can cultivate. Try it out before your
mirror, and see if it's not true (and add to the
gayety of nations!).
Now, here's another thing — and though it
seems unimportant, its effect is great. Garbo's
walk. She walks with "a quasi-oriental, loose-
limbed motion."
Dr. Reynolds doubts if Garbo consciously is
aware of that walk. He believes it is hers
naturally. But that does not prevent other
women from profiting thereby. That does not
mean, purely, imitation. It means, rather,
realization of the effect a graceful, unusual walk
Photoplay Magazine for April, 1932
givesymPHONIE
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I32
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N-224 Ftatlroa B.ildln..
n. y.
Photoplay Magazine for April, 1932
and carriage has — and the profiting by that
knowledge. Garl>o always remembers her debt
to sculpture.
Garbo's voice is another case in point. It is
always quiet, deep, restrained. How few
women are there whose voices do not rise shrilly
under excitement or emotion? Garbo's does
not — so she is different — being different is
being mysterious — to be mysterious is to in-
terest, fascinate others.
/"^ ARBO'S appeal is not alone to men, nor to
^wcimtn. She appeals to both — to women be-
cause they want to be like her, knowing and
envying her power; to men because Garbo's
appeal is to the mother complex in man !
This Dr. Reynolds states positively. "The
sex reaction in the great majority of men, to a
greater or lesser degree, is tied up with a kind
of mother complex," he points out. "Any
woman knows that, although she may not
express it like that in the psychiatrist's lan-
guage. Women merely know that the vast
majority of men 'are just little boys.'
" Garbo appeals to that in men particularly.
Her whole personality makes men want to be,
subconsciously, mothered by her. Certainly
men do not want to father her, as they do the
opposite type! She appeals, also, to the
masochistic man, the man who wants to sense
strength — not necessarily physical, but moral
strength — in his woman. And be mothered by
her.
"' You can sum up Garbo's 'personality' then,
in general, as follows: (1) — Great self-control,
leading to (2) — the impression that she has a
great understanding of life through suffering,
which creates, in turn (3) — that sense of
mystery that makes a person fascinating,
dominant. i4j The physical attributes of an
extraordinary, yet graceful walk, and a
vibrant, low voice always under control. (5)
As a result of these, a form of sex-appeal which
playrs upon a man's mother complex. She has
great psychological vitality."
.And that's Garbo. Now for:
CLARK GABLE
GABLE may be summed up in a two-word
characterization — he is a "civilized brute."
"It has taken man a long time to evolve out
of the jungle brute into the civilized man of to-
day," says Dr. Reynolds. "In that process, he
has lost many of the physical qualities which
made the brute, and substituted for them an
outward weakness, and approach to femininity.
" It is becoming rare then, today, to find a he-
man who is, withal, kindly, good-natured and
tolerant.
"Clark Gable, on the screen, presents ex-
actly this picture. He presents the picture of
a true he-man, a splendid physical specimen
radiating strength and force and power, and
who has, nevertheless, acquired the assets of
civilization. He appears happy and honest.
"And it is a fundamental truth that the
majority of women today, wanting that sort of
man subconsciously, also want, when they find
him, to strip that veneer of civilization from
him and reawaken the brute beneath.
"It is that which Clark Gable challenges,
more or less, in every woman. And that is
why, if it is so, that Clark Gable's appeal to
women has been so sudden, so great and so
widespread — as was Valentino's, in a different
way.''
The keynote of Gable's appeal, it seems, is
not only that the observer knows that he is
possessed of physical strength, but also that he
has that same restraint that speaks of a moral
strength behind the physical.
Moreover, he has the Garbo trick of facial
emotional control. He can mask his true re-
actions and assume, instead, the evidence of an
emotion that does not exist within him. Like
Garbo, he has learned not to put everything in
the show window.
And does this mean anything to women?
"Hundreds of women," answers Dr. Rey-
nolds, "have told me, in the course of profes-
sional relations, that the only reason they ever
married their husband was because of the
apparent indifference he displayed during their
first three months' acquaintance!"
Well, any intelligent male need but read that
to know what to do.
Now here are some specific facets of Gable's
appeal; as Dr. Reynolds, knowing the twists of
the feminine human mind, observes them:
" T—TE has a habit, when smiling, of raising his
•*- -*-eyebrows. It engenders in the observer an
impression of sympathy, understanding and
tolerance. The effect on a woman is that,
cognizant of the physical brute strength before
her, she nevertheless feels safe because she
senses a protection in those qualities.
"Like Garbo's appeal to man's mother-
complex, Gable's attitude is one of 'fathering*
his girl. There is a kind of paternal note in his
actions and reactions toward her that intrigues
her and yet gives her a sense of trust in him.1
There is much in common between Dempsey
and Gable, says the psycho-analyst. "Gable
has much that Jack Dempsey has, besides
which Gable is a good actor. Gable has all the
glamour and attractiveness of Dempsey.
" Some of this is purely physical. Both cany
their head in a peculiar manner — which I can
only describe as reminiscent of the gladiator of
old — chin down, a little arch to the neck so
that one notices the corrugation of the chin
line. Subconsciously it reminds the watcher of
the Grecian athlete — or some other atavistic
memory, perhaps — resulting in an impression
of great physical and moral strength as well as
alertness."
Strange it is, certainly, and seemingly simple
what tiny and unmysteriously mechanical and
physical things stir within us the subconscious
emotions and reactions that make rabid Garbo-
Gable fans, isn't it?
And atop all else, Gable has this prime handi-
cap, as far as screen appeal goes, according to
Dr. Reynolds:
"He has less of the feminine streak that is
present in every man than there is in any other
screen male today!''
Summing up Gable, then, he has (1) definite
physical strength and a splendid body. 1 2 the
effect of great moral strength, communicated
by such physical habits as the way he holds his
head, the way he smiles. Like Garbo. he has
; self-control and avoidance of "putting
everything in the show window." And the
result is that he appears as the "civilized
brute" whose appeal to womanhood is tremen-
dous, especially to those with a "father- fixa-
tion."
Y\ TELL, you've"read what Dr. Reynolds had
W to say. A lot of it may sound a bit
abstruse, "deep." But it isn't. Read it over
again, and it's quite simple. But you may
wonder, discouragedly, if there's anything in it
to help you — you who want to capture some of
the personal charm that makes Gable and
Garbo so universally admired.
Well, Dr. Reynolds tells you this:
"Studiously applied, it is easy in the present
state of mob hysteria that exists, to put over a
bluff, of sorts.
" In the field of sex. thanks to Freud and his
followers and imitators, and the present open-
ness of sex discussion, sex has become so abso-
lutely phlegmatic and dull that most men and
women are longing, by very nature, for a little
mystery.
"So a little practice and thought spent in
applying a bluff that will make others believe
you have experienced, that you have plumbed
great mysteries of life, will go far today.
" People are looking for leaders today as
never before — small circle leaders as well as
national and international. The 'different'
person can become a leader, merely by intelli-
gent care and bluff, but it cannot be sustained
without the necessary vitality.
•'That's why so many French valets get
away with posing as lords."
And if there are many such attempts, the
world will be a funnier place than ever to live
X
Photoplay Magazine for April, 1932
33
WHEN CAESAR WAS A BOY
THE Forum was the common market-place for all of
ancient Rome. Today a few crumbling columns stand
as mute reminders of its former grandeur.
In our present-day complex civilization, market-places have
become scattered. It is no longer possible to visit them all
in a morning — or even in a day.
Advertising, instead, has become the convenient Forum of
modern buyers and sellers. If you are considering the pur-
chase of a new car, you scrutinize the automobile adver-
tising. Or if it's a purse, silverware, or an electric clock
that you want, you turn again to the advertising. Here is
the national market-place for merchandise.
Furthermore, as you leaf over those same pages of products,
your mind is storing away for tomorrow a compact and
valuable fund of information. Instinctively, you will remem-
ber those facts when you make your future purchases'. In-
crease your store of knowledge by reading the advertise-
ments regularly.
Advertising has become the common market-place of this twentieth century
!34
/
Photoplay Macazini tor April, 1932
Addresses of the Stars
t's like eating the
reddest, ripest tomato
from the finest vine
"When you take a long, cool drink
of original College Inn Tomato
Cocktail, you're looking into the
biggest, reddest, ripest tomato it
was possible to grow.
You're drinking the whole to-
mato— delicately seasoned by our
own chefs. That's why it's so full
of body and flavor — so refresh-
ingly good.
And it's kept that way by the
new, exclusive Hi-Vita process of
packing — retains all the original
flavor and vitamins.
College Inn always comes in
glass containers — you see its
smooth, full body. And the new
cap is a big help.
Compare original College Inn
Tomato Cocktail with any of the
thin, watery, canned juices. It's
like cream to skimmed milk.
\ ou'll agree, too!
At vour dealer's.
THE ORIGINAL
TOMATO JUICE
COCKTAIL
Coi-iege Inn Food Products
Ilolrl Sherman Chicago
415 (irrenwirh St. . . New York
Co.
Hollywood, Calif.
Paramount Publix Studios
MM Ames
Richard Ariel)
George Bancroft
Talhilali Bankhead
I- Barbier
Clive Brook
Eleanor Boardman
William Boyd
John Brecden
Cbas. D. Brown
Maurice Chevalier
Juliette Compton
Jackie Coogan
Robert Coogan
Gary Cooper
Frances Dee
Marie ne Dietrich
Claire Dodd
Junior Durkin
Stuart Erwin
Marjorie Gateson
Tamara Geva
Wynne Gibson
Phillips Holmes
Miriam Hopkins
Lenita Lane
Carole Lombard
Paul Lukas
Jeanette MacDonald
Fredric March
San Maritza
Marx Brothers
Francis Moffett
Rosita Moreno
Jack Oakie
Eugene Pallctte
Ramon Pereda
Irving Pichel
(.one Raymond
Charlie Ruggles
Jackie Searl
Peggy Shannon
Sylvia Sidney
Lilyan Tashman
K(-nt Taylor
Regis Toomey
Allen Vincent
Judith Wood
Fox Studios, 1401 N. Western Ave.
Frank Albertson
John Arledge
Warner Baxter
Joan Bennett
El Brendel
Joan Castle
Paul Cavanagh
Virginia Cherrill
William Collier, Sr.
Roxanne Curtis
Jesse DeVorska
Donald Dillaway
Allan Dinehart
James Dunn
Sally Eilers
Charles Farrell
Janet Gay nor
Minna Gombell
William Holden
Olin Howland
Warren Hymer
J. M. Kerrigan
James Kirkwood
Flissa Landi
Helen Mack
Kenneth MacKenna
Victor McLaglen
Thomas Meighan
Una Mcrkcl
Don Jose Mojica
Conchita MontenegTO
Goodee Montgomery
Ralph Morgan
Greta Nissen
George O'Brien
Lawrence O'Sullivan
Cecelia Parker
William Pawky
Yvonne Pelletier
Gaylord Pendleton
Howard Phillips
Terrance Ray
Manya Roberti
Will Rogers
Peggy Ross
Raul Roulien
Rosalie Roy
George E. Stone
James Todd
Spencer Tracy
Linda Watkins
Marjorie White
Charles Williams
Elda Vokel
Radio Pictures Studios, 780 Gower St.
Mary Astor
Roscoe Ales
Evelyn Brent
Joseph Cawthorn
Lita Chevret
Ricardo Cortez
Lily Damita
John Darrow
Dolores Del Rio
Richard Dix
Irene Dunne
Jill Esmond
Noel Francis
Roberta Gale
Morgan Galloway
John Halliday
Hugh Herbert
Leyland Hodgson
Rochelle Hudson
Kitty Kelly
Geoffrey Kerr
Rita LaRoy
Dorothy Lee
Eric Linden
Phillips "Seth Parker'
Lord
Joel McCrea
Ken Murray
Edna May Oliver
Laurence Olivier
William Post
Lowell Sherman
Ned Sparks
Polly Walters
Rulii Weston
Bert Wheeler
Hope Williams
Robert Woolsey
RKO-Pathe Studios, 780 Gower St.
Robert Armstrong
Constance Bennett
Bill Boyd
James Gleason
Ann Harding
June MacCloy
Pola Negri
Eddie Quillan
Marion Shilling
Helen Twelvetrees
Ave.
Eddie Cantor
Charles Chaplin
Ina Claire
Ronald Colman
Melvyn Douglas
Douglas Fairbanks
Jean Harlow
Al Jolson
Evelyn Lave
Chester Morris
Mary Pickford
Gloria Swanson
Norma Talmadge
Columbia Studios, 1438 Gower St.
Eddie Buzzell
Richard Cromwell
Susan Fleming
Ralph Graves
Jack Holt
Buck Jones
Loretta Savers
Barbara Stanwyck
John Wayne
Culver City, Calif.
Metro-Goldwyn-Mayer Studios
Nils Aether
William Baki ■«■< 11
John Barrymnre
Lionel Barrymore
Wallace Beery
Charles Bickford
Herbert Braggiotti
John Mack Brown
Jackie Cooper
Joan Crawford
Kathryn Crawford
Marion Davies
Reginald Denny
Marie Dressier
Jimmy Durante
Cliff Edwards
Madge Evans
Wallace Ford
Clark Gable
Greta Garbo
John Gilbert
Charlotte Greenwood
Nora Gregor
William Haines
Helen I
Hedda Hopper
Leila Hyams
Dorothy Jordan
Buster Keaton
Myrna Loy
Joan Marsh
John Miljan
Ray Milland
Robert Montgomery
Polly Moran
Karen Morlcy
Conrad Nagel
Ramon Novarro
vello
Maureen O'Sullivan
Anita Page
Ruth Selwyn
Norma Shearer
Lewis Stone
Lawrence Tibbett
Ernest Torrence
Hal Roach Studios
Charley Chase
Mickey Daniels
Dorothy Granger
Oliver Hardy
Mary Kornman
Stan Laurel
United Artists Studios, 1041 N. Formosa
Gertie Messinger
Our Gang
David Sharpe
Grady Sutton
Thelma Todd
Universal City, Calif.
Universal Studios
Lew AvTes
Tala Birrell
John Boles
Lucile Browne
June Clyde
Bettc Davis
Sidney Fox
Rose Hobart
Boris Karloff
Bela Lugosi
Slim Summerville
Sally Sweet
Genevieve Tobin
Lois Wilson
Burbank, Calif.
Warners-First National Studios
George Arliss
Richard Barthelmess
Joan Blondell
Lilian Bond
Joe E. Brown
Anthony Bushell
Charles Butterworth
James Cagney
Ruth Chatterton
Donald Cook
Lil Dagover
Douglas Fairbanks,
Jr.
Kav Francis
Ruth Hall
Ralf Harolde
Walter Huston
Leon Janney
Evalyn Knapp
Ben Lyon
Mae Madison
David Manners
Marian Marsh
Yivienne Osborne
Dorothv Peterson
William Powell
James Rennie
Edward G. Robinson
Chas. '•Chic'' Sale
Loretta Young
Warren William
Long Island City, New York
Paramount New York Studio
Nancv Carroll
Claudette Colbert
Frank Morgan
Charles Starrett
Hollywood, Calif.
Robert Agnew, 6357 La Mirada Ave.
Virginia Brown Faire. 1212 Gower St.
Lane Chandler. 507 Equitable Bldg.
Llovd Hughes, 616 Taft Bldg.
Harold Llovd. 6640 Santa Monica Blvd.
Philippe De Lacy. 904 Guaranty Bldg.
Los Angeles, Calif.
Pat O'Mallev. 1832 Taft Ave.
Herbert Rawlinson. 1735 Highland SU
Ruth Roland, 6068 Wilshire Blvd.
Estelle Taylor. 5254 Los Feliz Blvd.
William S. Hart. Horseshoe Ranch. Newhall, Calif.
Patsy Ruth Miller, 808 Crescent Drive, Beverly
Hills. Calif. _ _ , „.„ r ,.,
George K.Arthur and Karl Dane, Beverly Hills, Caul.
Photoplay Magazine for April, 19.52
Casts of Current Photoplays
Complete for every picture reviewed in this issue
l35
"AIR EAGLES"— All-Star.— Story, adaptation
nd dialogue by Hampton Del Ruth. Directed by
1 hilip \\ hitman. Photography by James Brown, Jr.
Vuil photography by Charles Marshall. The cast:
Bill Ramsey, Lloyd Hughes; Otto Schumann, Norman
Kerry; Eve, Shirley Grey; Dad Ramsey, Otis Harlan;
Eddie Ramsey, Matty Kemp; Carnival Barker, Berton
Churchill; Mother Ramsey, Katherine Ward.
"ALIAS THE DOCTOR'-— First National —
From the play by Emric Foeldes. Adapted by
Houston Branch. Directed by Michael Curtiz. The
cast: Karl Midler. Richard Barthelmess; Lottie,
Marian Marsh; Mother Brenner, Lucile Laverne;
nan, Norman Foster; Anna, Adrienne Dore;
Keller, Oscar Apfel; Dr. Niergardt, John Sainpolis;
Kleinschmidl, Wallis Clark; Mrs. Beverly, Claire
Dodd; \'on Bergman, George Rosener; Autopsy
Surgeon, Boris Karloff; Professor of University,
Reginald Barlow; The Deacon. Arnold Lucy; Willie.
Harold Waldridge; Franz, Robert Farfan.
"BEHIND THE MASK" — Columbia. — From
the storv "In the Secret Service" by Jo Swerling.
Directed by John Francis Dillon. The cast: Hart,
Jack Holt; Julie. Constance Cummings; Henderson,
Boris Karloff; Arnold, Claude King; Edwards, Bertha
Mann; Steiner, Edward Van Sloan; Hawkes, Willard
Robertson.
"CROSS EXAMINATION "—Supreme.— Story
bv Arthur Hoerl. Adaptation and dialogue by
Arthur Hoerl. Directed by Richard Thorpe. Photo-
graphy by A. Anderson. The cast: Gerald Waring,
H. B. Warner; Grace Varney. Sally Blane; Inez Wells,
Natalie Moorhead; Dviight Simpson. Edmund Breese;
Emory Wells, William V. Mong; David Wells, Donald
Dillaway; Etta Billings, Nita Cavalier; Mary Stevens,
Sarah Padden; Warren Slade, Niles Welch; Judge
ter, Wilfred Lucas; Martha Gregory, Margaret
Fealy; Boggs, Alexander Pollard; Ralph Varney, B.
Wayne LaMont.
"DISORDERLY CONDUCT"— Fox.— From the
story by William Anthony McGuire. Directed by
John W. Considine, Jr. The cast: Dick Fay, Spencer
Tracy; Phyllis Crawford, Sally Eilers; Tom Manning,
Ralph Bellamy; Ohen, EI Brendel; Jimmy, Dickie
Moore; James Crawford, Ralph Morgan; Fletcher,
Allan Dinehart; Lunch Room Girl. Claire Maynard;
Tony Alsotto, Frank Conroy; Stallings, Cornelius
Keefe; Gwen Fiske, Nora Lane; Phoebe Darnlon,
Geneva Mitchell; Limpy, Charles Grapewin; Perce
Manners, James Todd; Helen Burke, Sally Blane.
"DRAGNET PATROL"— All-Star.— From the
story by W. Scott Darling. Directed by Frank
Strayer. The cast: Millie, Vera Reynolds; Larry
While, Glenn Tryon; Mabel, Marjorie Beebe; Cookie,
Vernon Dent; Ethel, Symona Boniface; Mr. Granger,
Walter Long; Detective, George Hayes.
"DRIFTER, THE"— All-Star.— From the story
by Oliver Drake. Directed by William O'Connor.
The cast: Louis Valjean, William Farnum; Matt
Farlane, Charles Sellon; John McNeary, Noah Beery;
Bonnie McNeary, Phyllis Barrington; Paul La/our,
Bruce Warren; Montana, Russell Hopton; Marie, Ann
Brody; Yvonne, Inez Seabury.
"EXPERT, THE"— Warners.— From the novel
"Old Man Minick" by Edna Ferber. Directed by
Archie Mayo. The cast: Grandpa Minick, Chic
Sale; Dickie, Dickie Moore; Nettie Minick, Lois
Wilson; Fred Minick, Earle Foxe; Crowley, Ralf
Harolde; Mrs. Sma/lkridge. May Boley; Sadie,
Adrienne Dore; Daisy, Noel Francis; Annie, Dorothy
Wolbert; Lulu, Louise Beaver; Price, Ben Holmes;
Briggs, William Robyns; Dietenhofer , Charles Evans;
Al, Walter Catlett; Mrs. Crackenwald, Clara Blan-
dick; Miss Lippincolt, Zita Moulton; Miss Slack, Elsa
Peterson.
"FINAL EDITION, THE"— Columbia.— From
the story by Roy Chanslor. Adapted by Dorothy
Howell. Directed by Howard Higgin. The cast:
Sam Bradshaw, Pat O'Brien; Anne Woodman, Mae
Clarke; Palsy King, Mary Doran; Sid Malvern,
Bradley Page; Neil Selhy, Morgan Wallace; Freddie,
James Donlan; Dan Cameron, Phil Tead; Jim Conroy,
Wallis Clark; Mrs. Conroy, Bertha Mann.
"FIREMAN, SAVE MY CHILD" — First
National. — From the story by Ray Enright, Robert
Lord and Arthur Caesar. Directed by Lloyd Bacon.
The cast: Joe Grant, Joe E. Brown; Sally, Evalyn
Knapp; Pop, Guy Kibbee; June, Lilian Bond;
Mascot, George Ernest; Fire Chief, George Mac-
Farlane; Larkin, Ben Hendricks. Jr.; Miss Gallop,
Virginia Sale; Steven, George Meeker; Pitcher, Frank
Shallenback.
"FOOL'S ADVICE, A"— Frank Fay Prod.—
From the story by Frank Fay. Continuity by Walter
DeLcon and Charles Belden. Directed by Ralph
Ceder. The cast: Spencer Brown. Frank Fay; Norma
Baker. Ruth Hall; George Diamond. Hale Hamilton;
Harry Bayliss, George Meeker; Martin Sloan, Berton
Churchill; Steve, Eddie Nugent; Mrs. Prescolt, Esther
Howard; Hotel Clerk, Franklin Pangborn; Kelly, Nat
Pendleton; Copeland, Nick Copeland; "Muscles,"
Mike Donlin; Catlett, Eddie Borden; "Spike," Al
Hill; Citizen, Sidney Jarvis.
"GAY CABALLERO, THE "—Fox.— From the
novel by Tom Gill. Screen play by Philip Klein and
Barry Conners. Directed by Alfred Werker. The
cast: Ted Radcliffe, George O'Brien; Don Harkness,
Victor McLaglen; Adcla Morales, Conchita Monte-
negro; Ann Grey, Linda Watkins; Don Paco Morales,
C. Henry Gordon; Jilo, Weldon Heyburn; Major
Blunt, Willard Robertson; Juan, Juan Torena;
Manuel, Martin Garralaga.
"HOTEL CONTINENTAL"— Tiffany Prod —
From the story by F. Hugh Herbert and Paul Perez.
Continuity by Warren B. Duff. Directed by Christy
Cabanne. The cast: Mary, Peggy Shannon; Bennett,
Theodore Von Eltz; Mr. Underwood, Alan Mowbray;
Martin, J. Farrell MacDonald; Tierney, Rockliffe
Fellows; Mrs. Underwood, Ethel Clavton; Winthrop,
Henrv B. Walthall; Laylon, Bert Roach; Mills,
William Scott.
"IMPATIENT MAIDEN, THE"— Universal.
— From the novel, "The Impatient Virgin," by
Donald Henderson Clarke. Screen play by Richard
Schayer and Winifred Dunn. Directed by James
Whaie. The cast: Dr. Myron Brown, Lew Ayres;
Ruth Robhins, Mae Clarke; Betty Merrick, Una
Merkel; Albert Hartman, John Halliday; Clarence
Howe, Andy Devine; Dr. Wilcox, Berton Churchill;
Nurse Lovelt, Ethel Griffies; Mrs. Gilman. Helen
Jerome Eddy; Ambulance Driver, Monty Montague;
Mr. Rosy, Lorin Raker; Mrs. Rosy, Cecil Cunning-
ham; Mr. Thomas, Arthur Hoyt; Mrs. Thomas,
Blanche Payson.
"LADY WITH A PAST"— RKO- Pa the.— From
the novel by Harriet Henry. Screen play by Horace
Jackson. Directed by Edward H. Griffith. The cast:
Venice Muir, Constance Bennett; Guy Bryson, Ben
Lyon; Donnie Wainwright, David Manners; The
Argentine, Don Alvarado; Rene, Albert Conti; Ann
Duryea, Merna Kennedy; Nora, Blanche Frederici;
Lola, Astrid Allwyn; Aunt Emma, Nella Walker; Mrs.
Bryson, Helene Millard; Karl, John Roche; Jerry,
Donald Dillaway; Patterson, Freeman Wood; Spauld-
ing, Cornelius Keefe; Mr. Partridge, George Irving;
Butler, Arnold Lucy.
"LOST SQUADRON, THE"— Radio Pictures.
— From the story by Dick Grace. Screen play by
Wallace Smith. Directed by George Archainbaud.
The cast: Captain Gibson, Richard Dix; Folletle
Marsh, Mary Astor; Von Furst, Eric Von Stroheim;
The Pest, Dorothy Jordan; Red, Joel McCrea; Woody,
Robert Armstrong; Fritz, Hugh Herbert; Detective.
Ralph Ince; Flyers, Dick Grace, Art Goebel, Leo
Nomis, Frank Clark.
"MENACE, THE" — Columbia.— From the story
by Edgar Wallace. Continuity by Dorothy Howell.
Directed by Roy William Neill. The cast: Tracy,
H. B. Warner; Peggy. Bette Davis; Ronald, Walter
Byron; Caroline, Natalie Moorhead; Ullerson, William
Davidson; Lewis, Crauford Kent; Phillips, Halliwell
Hobbes; Bailiff, Charles Gerrard; Carr, Murray
Kinnell.
"MONSTER WALKS, THE"— Action Picture
— Story and adaptation by Robert Ellis. Directed by
Frank Strayer. Photography by Jules Cronjager.
The cast: Dr. Craylon, Rex Lease; Ruth Earllon. Vera
Reynolds; Robert Earllon, Sheldon Lewis; Hans Krug,
Mischa Auer; Mrs. Krug, Martha Mattox; Herbert
Wilkies, Sidney Bracy.
"MURDER AT DAWN"— Big Four Prod —
From the story by Barry Barringer. Directed by
Richard Thorpe. The cast: Danny, Jack Mulhall;
Doris Farringlon, Josephine Dunn; Caretaker, Mischa
Auer; Housekeeper, Martha Mattox; Arnstein, Crau-
ford Kent; Judge Folger, Phillips Smalley; Gertie,
Marjorie Beebe; Goddard, Al Cross; Farringlon, Frank
Ball; Freddy, Eddie Boland.
"NICE WOMEN"— Universal.— From the play
by Wm. A. Grew. Screen play by Edwin H. Knopf.
Directed by Edwin H. Knopf. The cast: Bess
Girard, Sidney Fox; Jerry Girard, Frances Dee; Mark
Chandler, Alan Mowbray; Airs. Girard, Lucile
Weoster Gleason; Bill Wells, Russell Gleason; Mr.
Girard, James Durkin; Jackie Girard, Kenneth
Seiling; Dorothy Drew, Carmel Myers; Butler, Leonard
Carey; Miss Irvine, Jo Wallace; Mary, Patsy
O'Byrnc; Maid, Florence Enright.
"ONE HOUR WITH YOU"— Paramount.—
From the play by Lothar Schmidt. Screen play by
Samson Raphaelson. Directed by Ernst Lubitsch.
The cast: Dr. Andre Berlier, Maurice Chevalier;
Colette Berlier, Jeanette MacDonald; Milzi Olivier,
Genevieve Tobin; Adolph, Charlie Ruggles; Prof.
Olivier, Roland Young; Police Commissioner, George
Barbier; Mile. M artel, Josephine Dunn; Detective,
Richard Carle; Policeman, Charles Judels; Milzi's
Maid, Barbara Leonard.
"PASSIONATE PLUMBER, THE"— M-G-M —
From the novel "The Cardboard Lover" by Jacques
Deval. Adapted by Laurence E. Johnson. Directed
by Edward Sedgwick. The cast: Elmer, Buster
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1 36
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Photoplay Magazine for April, 1932
Kcaton; McCracken, Jimmy Durante; Patruia, Irene
Purcell; Albine, Polly Moran; Tony Lagurce, Gilbert
Roland; Nina, Mona Maris; Aunt Charlotte, Maude
Eburne; Bouncer, Henry Arm. tta ; 1'aul Le Muire,
Paul Porcaai; Chauffeur, Jean Del Val; General
Jiouschay, August Tollaire.
"POLLY OF THE CIRCUS"— M-C-M.— From
the- play by Margaret Mayo. Adapted by Carey
Wilson. Directed by Alfred Santell. The east:
Polly, Marion Davies; Rev. John Hartley, Clark
Gable; Rev. James NorlhcoU, C. Aubrey Smith;
Downey, Raymond Hatton; Beef, David Landau;
Mit-.i. Ruth Selwyn: Mrs. Jennings, Maude Eburne;
Half-pint, Little Billy; Eric, Guinn Williams; Don,
Clark Marshall; Mrs. McNamara, Lillian Elliott.
"ROAD TO LIFE. THE"— Amkino— From the
story by Xikolai Ekk. Directed by Nickolai Ekk.
The cast: Fomka Zhigan, Mikhail Zharov; Lelka
"Mazikha." Maria Gonta; "Dandy" Mustapha,
Tzyvan Kyrla; Kolka. Mikhail Djagafarov; Kolga's
Father, Vladimir Veshnovsky ; Kolka's Mother, Regina
Yanushkevich; Nikolai Sergeyev, Nikolai Batalov;
Maria Skriabina, Marie Antropova.
"SADDLE BUSTER, THE"— RKO-Pathe.—
Story by Cherry Wilson. Adaptation by Oliver
Drake. Direction by Fred Allen. Photography by
Ted McCord. The cast: Montana, Tom Keene;
Sunny, Helen Foster; Rita. Marie Quillan; Ranee,
Robert Frazer; Jude, Richard Carlyle; I'a Hern, Fred
Burns; Calgary, Harry Bowen; Cladgett, Charles
Quiglev; Keno, Charles Whittaker; Shorty, Ben
Corbett; Blackie, Al Taylor.
"SALLY OF THE SUBWAY"— Action Pictures.
— Story by George B. Seitz. Directed by George B.
Seitz. Photography by Jules Cronjager. The cast:
Ludwig, Jack Mulhall; Angela, Blanche MehafTey;
Sally, Dorothy Revier; Gordon, Huntly Gordon;
Yon Tromp, Harry Semels: Mr. Moffit, Crauford
Kent; McMillan, John Webb Dillon; Scraggs, William
Burt.
"SHANGHAI EXPRESS"— Paramount.— From
the story by Harry Hervey. Screen play by Jules
Furthman. Directed by Josef Von Sternberg. The
cast: Shanghai Lily, Marlene Dietrich; Capt. Donald
Harvey, Clive Brook; Hui Fei, Anna May Wong;
Henry Chang, Warner Oland; Sam Salt, Eugene
Pallette; Mrs. Haggerty, Louise Closser Hale; Rev.
Carmichatl, Lawrence Grant; Col. I.enard, Emil
Chautard; Eric Baum, Gustav Von Seyffertitz.
"SHE WANTED A MILLIONAIRE"— Fox.—
From the story by Sonya Levien. Screen play by
William Anthony McGuire. Directed by John
Blystone. The cast: Jane Miller, Joan Bennett;
William Kelly, Spencer Tracy; Mrs. Taylor, Una
Mcrkel; Roger Norton, James Kirkwood; Mrs. Miller,
Dorothy Peterson; Mr. Miller, Douglas Cosgrove;
Humphrey, Donald Dillaway; Charlie, Tetsu Komai;
Monk, Constantine Romanoff.
"SHOP ANGEL"— Premier Attractions. —
From the story by I sola Forrester. Adapted by
Edward T. Lowe. Directed by E. Mason Hopper.
The cast: James Walton Kennedy, Holmes Herbert;
Dorothy Hayes, Marion Shilling; Larry Pemberton,
Anthony Bushell; Don Irwin, Walter Byron; Jerry
Morton, Creighton Hale; Margaret Kennedy, Dorothy
Christy.
" STEADY COMPANY " — Universal. — From
the story by Edward Luddy. Screen play by Earl
.Snell. Directed by Edward Ludwig. The cast: Jim,
Norman Foster; Peggy, June Clyde; Tony. Henri
Armetta; Dot, ZaSu Pitts; HogOn, J. Farrell Mac-
Donald; Blix, Maurice Black; Tuxedo Carter, .\i
Wallace; Pico Vacci, Jack Perry; Curly Blake, Morry
Cohan; Pop Henley, Willard Robertson.
"STRANGERS IN LOVE"— Paramount.— From
the story "The Black Robe" by William J. Locke.
Adapted by Grover Jones and William Slavens
McN'utt. Directed by Lothar Mendes. Thi
Arthur Drake, Fredric March; Buddy Drake, Fredric
March; Diana Merrow, Kay Francis; Stan Kenney,
Stuart Envin; Muriel Preston, Juliette Compton; Mr.
Merrow, George Barbier; Detective McPhail, Sidney
Toler; J. C. Clark, Earle Foxe: Prof. Clark, 1
Littlefield; Bronson, Leslie Palmer; Snowball, Ger-
trude Howard; Crenshaw, Ben Taggart; Dr. Seiout,
John M. Sullivan.
"TARZAN, THE APE MAN"— M-G-M— From
the story by Edgar Rice Burroughs. Adapted by
Cyril Hume. Directed by W. S. Van Dyke. The
cast: Tarzan, Johnny Wcismuller; Harry Hoi'., NeB
Hamilton; James) Parker, C. Aubrey Smith; Jant
Maureen vO'Sullivan; Mrs. Cutten,
Parker
Lloyd ; Beamish
Williams.
Forrester Harvey; Riano,
Doris
Ivory
"TEXAS GUN FIGHTER"— Tiffany Prod.—
From the story by Ben Cohen. Directed b.
Rosen. The cast: Bill, Ken Maynard; Jane, Sheila
Mannors; Banty, Lloyd Ingraham; Mason, Harry
Woods; Clayton, Bob Fleming; Adams, Edgar Lewis;
Drag, Jim Mason.
"WAYWARD" — Paramount. — From the novel
"Wild Beauty" by Mateel Howe Farnham. Adapted
by Gladys Unger. Directed by Edward Sloman. The
cast: Daisy, Nancy Carroll; David Frost, Richard
Arlen; Mrs. Frost, Pauline Frederick; Boh Daniels,
John Litel; Louisa Daniels, Margalo Gillmore; L'ncU
Judson, Burke Clarke; Hallie, Dorothy Sti<
Mary Norton, Gertrude Michael; George, Sidney
Easton.
"WISER SEX, THE"— Paramount.— From the
play by Clyde Fitch. Screen play by Harry 1!
and Caroline Francke. Directed by Berthold
Viertel. The cast: Margaret Hughes, Claudette
Colbert; Claire, Lilyan Tashman; David Rcife,
Melvyn Douglas; Harry Evans, William fsoyd\Jtmmy
O'Neil, Ross Alexander; Phil Long, Franchot Tone;
Stephen Blaney, Paul Harvey; Mrs. Hughes, Effie
Shannon; Ed, Victor Killian; City Editor, Granville
Bates; Fritz, Robert Fischer; The Wop, Douglas
Dumbrille.
"WITHOUT HONOR"— Supreme.— From the
story by Lee Sage. Continuity by Harry' Crist and
Lee Sage. Directed by William Nigh. The cast:
Pete Marian, Harry Carey; Mary Ryan. Mae Busch;
Bernice Donovan, Mary Jane Irving; Mike Donovan,
Gibson Gowland; Lopez Yenero, Ed Brady; Frank
Henderson, Jack Richardson; Sholtz Fletcher, Tom
London.
"ZANE GREY'S SOUTH SEA ADVENTURES"
— Sol Lesser. — Narrative by Thomas J. Geraghty.
Spoken by Wedgwood Nowell. Photography by
Romer Grey, Robert Carney and Thomas Middleton.
The cast: Zane Grey and his party.
Keystone
Every time Mrs. Robert Montgomery gets all dressed up in her ermine coat
folks ask her why she doesn't go in pictures and her invariable answer is,
"One star in the family is enough. Keeping up with Bob is a career in
itself." Here they are about to see a Hollywood premiere. Their com-
panion is Ivan Simpson, who did such a grand piece of character work in
"The Man Who Played God"
Photoplay Magazine kor April, 1932
J37
SPECIAL
REDUCED
PRICE
This Beautijul Book oj
250 De Luxe Art Portraits
oj Leading Film Stars
NOW CAC
ONLY D\J
WHILE THEY LAST
STARS t°hfe PHOTOPLAY
This de luxe edition of the "Stars of the Photoplay"
represents the very finest collection of beautiful art por-
traits of screen celebrities ever assembled under one cover.
Thousands of copies of this de luxe edition of the
Stars of the Photoplay have been sold at the origi-
nal price of $1.75 per copy, and thousands more at
the reduced price of $1.25, but they are now offered
to Photoplay readers as long as they last at the
ridiculously low price of 50c.
No reader can afford to be without a copy of this
wonderful collection of portraits of leading moving
picture stars at this price, which is less than the
single admission price of most moving picture
theaters. The Stars of the Photoplay will give
you many evenings' entertainment and will be your
constant reference for information about the stars
you have seen on the screen.
The outside measurement of the book is 1\i x 10^
inches, and the size of each portrait is 0Y2 x ^Yl
inches.
The portraits are rich, rotogravure reproductions,
and under each is a brief biographical sketch of
the star featured, including such information as
age. weight, height, complexion, etc. Just the
kind of information that you want.
The cover is a handsome Red Art Fabrikoid with
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An Ideal Gift
The Stars of the Photoplay will make an excellent
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can use, and we know you wijl be more than pleased
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enclose check, money order or currency. Send it
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Gentlemen:
Please send me copies of the Stars of the Photo-
play at the special reduced price of 50c per copy. Enclosed
please find □Money Order. □Check. □Currency for $
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Otudio Ja
Director Van Dyke,
who made "Trader
Horn," directing
the cliff scene in
"Tarzan, the Ape
Man," which fea-
tures the world's
champion swimmer
in the title role
By
Sara
Hamilton
am
bles
ALL aboard. Hop in. Here we go for a ride through
the back lot of the M-G-M studios. Through streets
of old Tia Juana, country towns, jungles and villages.
All props. A whistle blows shrilly and our car stops.
It's the signal that somewhere in the distance a scene is being
shot. We wait patiently for several minutes. Then it comes.
A far off whistle. Another watchman relays the whistle.
Then another. Until it reaches the man nearest us. Our
car swings sharply off the rutty, twisting road and, suddenly,
after ugly barren streets we find ourselves facing a lovely
park. As we step from the car we stop and look. It can't be.
But it is — Clark Gable dressed as a minister and catching a
baseball like old Babe Ruth himself. He waves a hand in
greeting. These "back lotters" are always glad to see visitors.
SOUNDS and voices reach in through the trees. Carefully
we pick our way back. There, in a wheel-chair, sits Marion
Davies. A vision in blue organdy. What has merely seemed a
dilapidated pile of lumber from the rear is a lovely old
Colonial Manse, with bright wicker furniture. Marion holds
a large bible on her lap and reads aloud between scenes.
Raymond Hatton, disguised as an old gardener, passes by.
It's all for "Polly of the Circus," Marion's new picture.
SUDDENLY, the soundman jumps up in alarm. "Well,
I'll be "he shouts. "What is it?" everyone asks. "Some-
one, somewhere, has a radio in the studio and our last three
shots are ruined," he growls.
AMIDST the groans of despair, we pick our way across
barren lots where, far off in the distance, lights and figures
can be glimpsed. It's the "Tarzan, the Ape Man" company.
Hard at work. A large, rocky cliff has been built up. Perched
perilously on the brink are Maureen O'Sullivan, C. Aubrey
Smith, Neil Hamilton and a dozen or so huge, half-naked
Africans. There's an air of suspense.
One is almost sure something is about to happen. It docs.
The lights flash on, the sound box whirrs and they're off. Up
that narrow, rocky cliff. The black men moving slowly.
Suddenly, there's a scream. Maureen has slipped. Hamilton
grabs her. She half swoons in his arms. The natives remain
Stoically calm. Never moving. She recovers her nerve. On
they go. Up. Up. Up. Almost to the top. A shout from
Smith. And then — a glimpse of a long body swinging from
a tree. Tarzan, the Ape Man.
And is there excitement on that two-by-four cliff? Even
Clark Gable, who has sneaked over from his adjoining lot,,
looks all ruffled, for all his minister's garb.
THEN back to our waiting car we go and, amidst the
echoing and re-echoing back and forth of shrill police whistles,
that fade off in the distance like some melancholy sound
from Alice in Wonderland, we hurry out to Universal Studios
just in time to grab a bus, on its way to another back lot.
But there we find warder. There's a slight, drizzly rain.
The proper sort of atmosphere for violence of some sort.
Suddenly, crowds of extras storm the doors of a property hotel.
Someone in there has been killed. Along the street a taxi
whirls. People are running. Shouting. Screaming. A girl
runs out into the street. Another car just missing her. Ex-
citement. Terror. In the distance, through the drizzling
rain, the gleaming red hair of Charley Bickford can be glimpsed.
If the other scenes of "Ambition" are as lively as this, mercy
goodness, what a wear and tear on the old nerves.
ON another -set is "Girl Crazy." Why just girl crazy?
As a matter of fact, everyone seems to be crazy. Mad as
hatters. Bert Wheeler, for some delirious reason, flies madly
about a dude ranch, clad in a woman's black sailor hat and
veil, and no pants whatsoever. Yes, ma'm, I said no pants.
Just a pair of salmon pink shorts and, heaven help us, Russian
boots. Woolsey, almost as nudely insane, and Kitty Kelly
sporting a hair cut that's a take-off on some Fiji Islander.
Two tough hombres of cowboys lie dead on the floor. And
is it any wonder? We had to escape or lie right down and die
ourselves. Wait till you see crazy "Girl Crazy.''
DANCE hall. Frowzy blondes. Slick-haired sheiks. An
orchestra. An orchestra leader. No. Yes. Jack Oakie
in a striped collegiate coat and, oh boy, that collegiate band.
Middle aged, fat, lean and decrepit collegians. The sweetest
bit of satirical take-off in years. Buster Collier, Miriam
Hopkins. "Dancers in the Dark" is in full swing. And wait
till you see Jack Oakie lead his famous collegians.
There's more Chicle in it
. . that's what makes it hetter
It's the amount and quality of chicle
used that makes such a big difference
in chewing gum — Beech-Nut Gum
contains a larger proportion of the
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EXTRA CHICLE that makes Beech-
Nut so truly refreshing and enjoyable.
Beech-Nut
Makes the next smoke
taste better
%
/!<
I
There is something
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DIFFERENT DELIGHTFUL DELICIOUS
'U
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Now — the world's most popular flavor — CHOCOLATE —
in a package handy for pocket or purse. A crunchy, de-
licious bit of sweet for everyone — and everyone enjoys
chocolate. A single package will convince you that they
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These new Chocolate Drops
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V
ecret
How 9 out of w
Screen Stars keep
youthful charm
REALLY AM 39 !" says Billie
Burke. "And I don't see why
any woman should look her
age," adds the famous Broad-
way star.
"We on the stage, of course,
must keep our youthful fresh-
ness. Youth always has irresisti-
ble attraction — it wins and holds
the public as nothing else can.
"So one must be wise enough
to keep this charm right through
the years. To do this it is im-
portant above everything else
to guard complexion beauty —
keep one's skin temptingly
fresh and smooth.
"For years I have used Lux
Toilet Soap. It leaves my skin
clear and soft."
The lovely Billie Burke is
only one of countless successful
actresses who have found in
this fragrant white soap the
perfect complexion care. In
Hollywood, actually 686 of the
694 important actresses use it!
MJ&'
says Jjillie jtwrke
The famous soap that guards complexion
youth for 9 out of 10 screen stars.
Lux Toilet Soap. .IO^
WHAT A
Photoplay Magazine for May, 1932
FOOL
SHE IS!
130
125 j
)20 , '
135
1*0
,^6*,
and she b« jf
Of wan-* you watch your weight!
YO U don't intend to sit in a cor-
ner with an overstuffed figure, while
some slender girl gets all the at-
tention !
But what about your face? What
about your smile? You aren't going to
have a beautiful, alluring smile for
very long unless your teeth stay spar-
kling white and sound ! And your
teeth aren't going to stay white and
sound unless you pay some attention
IPANA
to those soft, sickly gums of yours !
Practically every bit of food you eat
is soft, cooked food — far too creamy
to give your gums the stimulation
they must have. Your gums have been
getting lazier and weaker with every
year. Now they tend to bleed. You
have "pink tooth brush."
And "pink tooth brush" dulls the
teeth. Moreover, it can lead to gingi-
vitis, pyorrhea, Vincent's disease and
other serious gum troubles. It may
even endanger the soundness of your
teeth.
H
JAv,
V
Get a tube of Ipana. Do it todav.
First of all, it's a fine tooth paste. And
when you clean your teeth with it,
put a little extra Ipana on your brush
or fingertip and massage it right into
your unhealthy gums.
The ziratol, the toning agent in
Ipana, with the daily massage, will
firm your gums. It won't be long be-
fore your teeth arewhiter and brighter,
and your gums harder. You can forget
"pink tooth brush." And you'll be
able to smile and still be alluringly
beautiful!
BRISTOL-MYERS CO., Dept. I-*
73 West Street, New York, N. V
"^--j "ii^«* o ^^ |P U Kindly send me a ttial tube"o_ ">OTH
^p -^^^J O ^ " ^B^^^^^1. 1 PASTE. Enclosed is a two-cent stam,") partly
_— J '-■' ^^^m <Z- — I O \i 1 ^^P» the cost of packing and mailing.
^ '; ^L 1 -Z 2 JMk Name.
;=3 JHZizZ^^tJ^^' City State.
COPR. 1932. BRISTOL-MYERS CO.
A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury
Photoplay Magazine for May, 1932
CC
The WORLD and the FLESH
33
starring
GEORGE
BANCROFT
-"" MIRIAM
HOPKINS
Two great stars together in a powerful
drama of Red Russia! A story of raging
revolution, with its dark pattern of
hatred, intrigue and passion! George
Bancroft, the sailor who leads a blood-
thirsty pack of marauders! Miriam
Hopkins, seductive toast of all the gay
theatres of Russia — who finds a new life
and love in a strange twist of Fate! "The
World and the F/es/i"/ A thrilling adven-
ture you don't want to miss! A Para-
mount Picture — iibest show in town!"
Directed by John Cromivell
("paramount HI Cpidurei
PARAMOUNT PUBLIX CORP., ADOLPH ZUKOR, PRES., PARAMOUNT BLDC, N. Y.
HOTOPL
The World's Leading Motion Picture Publication
Vol. XLI No. 6
JAMES R. QUIRK, Editor and Publisher
May, 1932
I
Winners of Photoplay
Magazine Gold Medal for
the best picture of the year
1920 1921 1922
"HUMOR- "TOL'ABLE "ROBIN
ESQUE" DAVID" HOOD"
1923 1924 192S
"The "ABRAHAM "THE BIG
COVERED LINCOLN" PARADE"
WAGON"
1926 1927 1928
"BEAU "7th "FOUR
GESTE" HEAVEN" SONS"
1929 1930
"DISRAELI" "ALL QUIET ON THE
WESTERN FRONT"
Information and
Service
Brickbats and Bouquets .... 6
Friendly Advice on Girls'
Problems 52
Hollywood Menus 80
Questions and Answers .... 8i
Screen Memories From Photoplay . 94
Casts of Current Photoplays . . . 120
Addresses of the Stars 126
High-Lights of This Issue
Close-Ups and Long-Shots James R. Quirk 25
How Movie Babies Are Guarded Carl Yonnell 28
Discover Yourself Through the Movies You Like
Lous E. Bisch, M. D., Ph.D. 32
The Happy Lot 34
Cal York's Monthly Broadcast from Hollywood 36
The Hollywood Beauty Shop .... Carolyn Van Wtck 52
Seymour — Photoplay's Style Authority 61
The Unknown Hollywood I Know . . . Katherine Albert 65
One More Garbo Fan Cal York 67
Quit Those Cocktails If You Want A Figure . . . Sylvia 68
Photoplay's Famous Reviews
Brief Reviews of Current Pictures 8
The Shadow Stage 48
Short Subjects of the Month 84
Personalities
Lupe Yelez, Buddy Rogers and June Knight ..... 27
Hollywood's New Lover Sara Hamilton 30
Down To Two Cents! Ruth Biery 40
"Annie, the Moom-Pitcher Star" Sara Hamilton 45
Ladies and Gents, That's Love! .... Leonard Hall 46
The Story of the Girl Who Married Richard Dix . . Lee Haven 58
The Story of the Girl Who Fought Odds — Alice White Leonard Hall 59
The Idol of Yesterday 60
Two New Exotics 74
Corinne Captures England 76
(Photoplay Radio Contest Coupon on Page 118)
Published monthly by the Photoplay Publishing Co.
Editorial Offices, 221 W. 57th St., New York City Publishing Office, 919 N. Michigan Ave., Chicago, 111.
The International News Company, Ltd.. Distributing Agents, 5 Bream's Building, London, England
James R. Quirk, President Robert M. Eastman. Vice-President Kathryn Dougherty, Secretary and Treasurer
Yearly Subscription: S2.50 in the United States, its dependencies, Mexico and Cuba; S3. 50 Canada; S3.50 for foreign countries. Remittances
should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.
Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879.
Copyright, 1932, by the Photoplay Publishing Company, Chicago
1 he /Lud
lence
1 a
Ik
B
ac
k
"If every man, woman and
child were forced to see 'The
Man Who Played God' we
would be a better nation!"
That's how one letter writer
felt about the George Arliss
picture. In the same mail
came a note which said, "Give
Arliss better vehicles." And
that's why producers get
silver threads among the gold
Will nobody say a kind word
for this poor downtrodden
woman? Oh sure, plenty of
kind words for Ann Harding,
but a violent turning of
thumbs down for her picture
"Prestige." And one ardent
admirer begged that Ann be
the one star who can refrain
from becoming smart and chic
THE $25 LETTER
Xot long ago I was visiting a cousin who is
the mayor of his town. During my stay I
noticed that every night we went to the movies
for our recreation. On the sixth night I asked
him why the talkies were his preference over
all other amusements.
"Well," he replied, "back before we had this
theater the parents of this town came to me day
and night complaining of their children's be-
havior, saying they were getting into all kinds
of mischief. Maybe the kids meant no harm
but the citizens demanded that I put a stop to
it. I was helpless, but by good fortune the
theater was established and from then on I
have had very few complaints. I owe to the
movies more than I shall ever be able to pay, so
I show my gratitude by attendance."
Edwin Patterson", Enfield, N. C.
THE $10 LETTER
The other night I was feeling very down-
hearted, having just lost my job. I spent my
last money for a movie, hoping it would cheer
me up. Hut it didn't, for in five minutes I was
weeping right out loud in public, for the whole
picture was about the troubles of a heroine
whose husband had been killed. Xow I ask
you, is attending movies like that a way to for-
get your troubles? Everyone is blue these days.
I thought movies were for pleasure. Why do
we want to see suffering on the screen? I think
it is the duty of every motion picture studio to
cut out the heavy drama and give us light,
wholesome comedies.
Helen Payne, Chattanooga, Tenn.
THE $5 LETTER
Any more pictures like "Skippy" and
"Sooky" and the discipline in our home is
going to be completely shot. How can we-
stern parents hold out if the movies undermine
our morale like that? As I sat there in the
theater with my own two little boys, more than
once I wanted to reach out and take old Doc
Skinner by the hand. I knew just how he felt.
His problems are my problems.
6
THIS month yt)u folks are more
concerned with the films than
the stars in them. It's not the
battle of the sexes, but the battle
of sex. Everybody -who wants hot
sex eliminated from the movies
says. "Aye." Your letters show-
there are many more against sex
flickers than for them.
And what a flurry there was
about "Freaks." The big major-
ity thought it the worst picture
they had ever seen. Those who
liked it rose magnificently in its
defense. What do the rest of you
say? Is this your type of enter-
tainment or not?
There were few kind words said
for Ann Harding's "Prestige."
Rut don't blame Ann — she didn't
want to play in it in the first
place. Remember, the spanking
hurt her worse than it hurt you.
"The Passionate Plumber"'
brought a round of lusty cheers.
We -.aid you'd like it.
All the Garho-maniacs rallied
"round their goddess and said it
wasn't her height that gave her
strange phobias. And anyhow,
she didn't have any phobias. So
there — but other folks still insist
she's not divine. Not a lukewarm
letter about Garbo yet!
Mae Clarke is the favorite girl
this mouth — she even topped
Miriam Hopkins. Gene Ra>-
niiMiil is the nicest new lad. say
the ladies. It is remarkable how
Dew players can click with the
public in a few good pictures.
When the audience speaks the stars and pro-
ducers listen. We offer three prizes for the
best letters of the month $25, $10 and $5.
Literary ability doesn't count. But candid
opinions and constructive suggestions do.
We must reserve the right to cut letters to
suit space limitations. Address The Editor,
PHOTOPLAY, 221 West 57th Street, New
York City.
It's a man-sized job, raising boys, and union
rules don't apply. We can't always understand
kids, and I guess they almost never understand
grown-ups and their ways, but from now on
there's going to be more love and fun and play
at our house, and less spanking.
C. L. Porter, Chicago, 111.
"FREAKS"
Well, I have seen that picture " Freaks" and
I certainly think that whoever directed it
should be ashamed to have put his name to it.
I didn't mind its gruesomeness so much, but its
cheap vulgarity is something that left a bad
taste in my mouth. I cannot understand how
anyone in his right mind could have conceived
of such a picture. I am not easily shocked and
do not hold with rigid censor laws. What
amazes me is its frightfully- bad taste.
Elizabeth Conner, San Diego, Calif.
I had a friend who threatened to sue the
theater that showed "Freaks" for bringing
such a picture to the place. For me. I thank
the theater heartily, for it shows us that there
are others who are much worse off than we.
Joan Masters, Nashville, Tenn.
DOES ANYONE AGREE?
I think producers are wrong when they make
feverish efforts to suppress all news of tempera-
ment, wild parties and fights in the film colony.
As far as I am concerned these things are not
bad publicity.
Temperament on the set should be taboo, for
during working hours the stars should behave
as salaried employees, but off-screen tempera-
ment only makes them more interesting. It's
difficult to be enthusiastic over a quiet, modest
little girl like Janet Gaynor, or a domestic type
like Ann Harding. They are too much like the
people we know in our own circle.
I like to admire someone whose beauty and
brilliance are so outstanding that she can
afford to be different, can dare to do things
ordinary girls could not attempt. If she rights
when she feels like it, and makes whoopee when
[ PLEASE TURN TO PAGE 10 ]
Photoplay Magazine for May, 1932
It's a matter ot-
LlttamlDEATIi!
with
(LmeiQ AC N E Y
BLONDELL
ANN DVORAK
ERIC LINDEN
GUY KIB B EE
Story by
Howard Hawks and
Seton I. Miller
Dialogue by
Glasmon and Bright
Direction by
HOWARD HAWKS
of "Dawn Patrol" fame
Speed demons with goggled eyes glued on
glory . . . Grinning at death . . . laughing at
lovel . . . Breaking necks to break records-
while the Crowd Roars — FOR BLOOD 1... Never
— never — never has the screen shown such
nerve-racking ACTION— lifted right off the
track of the world's greatest speedway! It's
the thrill epic of all time— the talk of every
town that's seen it . . . Forty men risked
death to film it. Miss it at your own risk1.
12 of the world's greatest race
drivers in the most thrilling
action pictures ever shown!
THE HIT of the YEAR - FROM WARNER BROS. She^fo ""-
with every trick love knows!
Consult tlii— pic-
ture shopping
guide and save
your time, money
and disposition
iJrief Reviews of
Current Pictures
•fa Indicates photoplay iras named as one of (he best upon its month of review
MR EAGLES— All-Star.— An amusing enough
picture, but bigger and better air films have been
made. (.1 prit)
• ALIAS THE DOCTOR— First National —
Now it's Richard Barthelmess who glorifies the
medical profession. Rather gruesome. {April)
\1 MOST MARRIED— Fox— A competent cast.
including Ralph Bellamy and Violet Heming (stage
star), struggle valiantly with a weak story, silly
dialogue and careless direction. (Feb.)
WIBASSADOR BILL— Fox— Will Rogers, a
mythical kingdom and a lot of laughs. (Dec.)
ANYBODY'S BLONDE— Action Pictures.— Prize-
fight stuff, with some laughs and exciting moments.
(Feb.)
• ARE THESE OUR CHILDREN?— Radio
Pictures.— Inside, and pretty serious stuff on
what goes on in some high schools. Neither parents
nor children should miss it. (Dt^.)
*\ ROUND THE WORLD IN EIGHTY
MINUTES— United Artists.— Douglas Fair-
. in the funniest, trickiest, peppiest travelogue
you've seen. A novelty you must not miss. (Jan.)
• ARROWSMITH — United Artists.— Neither
author Sinclair Lewis nor you will tind fault
with this. The slorv of a doctor, beautifully done by
Ronald Colman and Helen Hayes. A great picture.
{Jan.)
• ARSENF. LUPIN— M-G-M.— The two Barry-
. Jack and Lionel, in a picture that
■ • beat for superb acting. Story concerns a
in thief and the captain of police. See tins by
all means. {March)
• BAD COMPANY -RKO-Pathe.— A gang
t's different, with Helen Twelve-
and Ricardo Cortez doing some fine acting.
BEAST OF THE CITY'. THE— M-G-M.— Inside
working- of a city police.dcpartment — with Jean
Harlow and Walter Huston, (Feb.)
BEHIND THE MASK— Columbia.— This ranks
among the best mystery and chill pictures of the year.
Jack Holt. (April)
BELOVED BACHELOR, THE— Paramount —
( omplications between a sculptor, his ward anil Ins
sweet l.ukas and Dorothy Jordan are the
throbs— Charlie Ruggles screamingly funny.
BEN HUR— M-G-M.— Although filmed in 1925
and dressed up in new sound effects, this Ramon
N'ovarro- Francis X. Bushman picture is still eye-
filling and exciting. (Feb.)
BIG SHOT, THE— RKO-Pathe.— A clean little
yarn. Eddie Quillan puts over startling business
deals and wins Maureen O Sullivan. (Feb.)
BRANDED MEN— Tiffany Prod.— An old-time
•n with more action than a Democratic con-
vention and just as many thrills. Ken Maynard.
June Clyde and Tarzan. the horse. (Feb.)
• BROKEN LULLABY — Paramount. — (Re-
viewed under title "The Man I Killed"). A
• >ry, excellently directed by Ernst Lubitsch,
and beautifully acted by Lionel Barrymore, Phillips
Holmes and Take your extra hanky, but
don't miss it. (March)
CAIN— Talking Picture Epics. — Although not as
idvllic as "Tabu.'' this modern Robinson Crusoe story
is both entertaining and beautiful. (March)
CAPTIVATION — Capital Prod. — Ho-hum. a
n-name-onlj situation, a stouter Conway Tearle
and a leading woman who almost out-Dielrichs
Garbo. Made in England. (Dec.)
S
• CHSMP, THE — M-G-M. — You'll laugh,
you'll cry. you'll thrill at this superb picture
with those two great artists. Jacki^ '"' ' " ->nd
Wallace Beery. Don't miss this one. : ..,
CHARLIE CHAN'S CHANCE— Fox.— Warner
Oland again is splendid as the whimsical Oriental
detective. But the picture isn't set at a brisk enough
pace. (March)
CHEAT, THE— Paramount.— In which Tallulah
Bankhead does her acting stuff in an old-fashioned
story'- (Jan.)
• CISCO KID, THE— Fox.— Warner Baxter
makes the girls' hearts beat double lime in this
thriller. The plot isn't new but the treatment is. (Not.)
COCK OF THE AIR— United Artists— Obviously
meant to be whimsical, this Billie Dove story about
a ravishing war-time Parisian beauty went haywire
somewhere along the line. Pretty risque. (Feb.)
You
Can Rely
on
Photoplay
Magazine
Picture Reviews
COMPROMISED— First National — ( Reviewed
under the title "We Three"'. Just uh-huh on this
one. It neither bores nor thrills. About a million-
aire. (A'or.)
• CONSOLATION MARRIAGE— Radio Pic-
tures.— Don't miss this truly sophisticated 1931
movie, with Irene Dunne and Pat "Front Page"
O'Brien. {Not.)
CONVICTED — Supreme Features. — A murder
mystery at sea and a good one, with Aileen Pringle
and Harry Myers. (Dec.)
CORSAIR — United Artists. — Familiar gangster
activities transferred to a marine setting, without im-
provement. Chester Morris. (Jan.)
CROSS-EXAMINATION— Supreme.— Plenty of
suspense about a boy accused of his father's murder.
(April)
• CUBAN LOVE SONG, THE— M-G-M —
Lawrence Tibbett's voice. Lupe Yelez' love-
making and Jimmy Durante's darn foolishness in a
lusty story of marines in Cuba. Great stuff. (Dec.)
• DANCE TEAM— Fox— Sally Eilers and
Jimmy Dunn hit the bulls-eye once more. The
story is not as gripping as "Bad Girl," but you
mustn't miss those two kids! (March)
DANGEROUS AFFAIR, A— Columbia.— A fast-
moving and surprise-filled "shrieker" with Jack Holt
and Ralph Graves. (A'or.)
DEADLINE, THE— Columbia.— A Western with
a really good plot. Better than the average horse
opera. Buck Jones. (Jan.)
DECEIVER, THE— Columbia— Wicked dec
young girl, backstage atmosphere and a murder. Ian
Keith and Dorothy Sebastian. (Feb.)
DELICIOUS— Fox.— Recommended for Janet
Gaynor-Charles Farrell fans and lovers of clean
entertainment. Janet is a Scotch immigrant and
Charlie the rich young American. (Feb.)
DEVIL ON DECK— Thrill-O-Drama.— All about
a brother's revenge in midocean and the wicked sea
captain's just desert. (Feb.)
• DEVOTION— RKO-Pathe.— Perfect cast, ex-
cellent direction and sparkling dialogue make
i oth-eaten plot a picture you must not miss.
Ann Harding. (A'o:'.)
• DISORDERLY CONDUCT— Fox. — Sally
Eilers is teamed with Spencer Tracy and it's a
fine idea. The whole family should see it. (April)
• DR. JEKYLL AND MR. HYDE— Para-
mount.— Another hoiror picture that will send
cold chills and thrills up your spine. Fredric March
and Miriam Hopkins are great. Fred handles the
difficult dual role superbly. Marvelous stuff, but
don't take the kids. (Feb.)
DRAGNET PATROL— Ail-Star.— A banal ballad
in celluloid about a rum runner and two women.
(April)
DREYFUS CASE. THE— Columbia.— An accu-
account of the famous Dreyfus-Emile Zola
rumpus, made in England with a fine British cast.
(.Yor.)
DRIFTER, THE— Ail-Star.— William Farnura
miscast as a French-Canadian who goes about spread-
ing two sunshines where only one grew before. (April)
• EMMA— M-G-M/— Another laurel svreath for
Marie Dressier. Siie makes you laugh and cry-
in this moving drama of an old servant's love for her
master's children. (Feb.)
EXPERT, THE— Warners.— Chic Sale and little
Dickie Moore in a nice, homey picture from that fine
story, "Old Man Minick." (April)
EXPLORERS OF THE WORLD— Raspin Prod.
— Six of the world's - Eplorers tell their
adventures in words and pictures. (Feb.)
FALSE MADONNA, THE— Paramount.— This
doesn't make you laugh but it hits your heart. Kay
Francis is good, but a new boy, John Breeden, steals
the show. (Jan.)
FIFTY FATHOMS DEEP — Columbia.— Why
waste Jack Holt and Dick Cromwell on that same old
plot? Oh sure, they are deep sea divers in love with
one girl. (A"or.)
FILE lli— Allied Pictures.— Crimes solved while
you wait. But if you're wise you won't wait. (March)
FINAL EDITION— Columbia— A worthwhile
newspaper story' packed with punches, political in-
trigue and murders. (April)
FIREMAN. SAVE MY CHILD— First National.
— Don't be misled by the title. This is a baseball
picture and a good one. Joe E. Brown. (April)
[ PLEASE TURN TO PAGE 14 ]
Photoplay Magazine for May, 1932
ifcS
l?*X
Supreme stars in the realm of romance, ruling by
right of the joy they bring you, are now destined to
triumph once more in a picture aglow with youth.
JANET
GAYNOR
CHARLES
FARRELL
N Rebecca of
Sunnqbrook Farm
Directed by ALFRED SANTELL
From the play by KATE DOUGLAS WIGGIN and CHARLOTTE THOMPSON
Screen Play by S. N. BEHRMAN and SONYA LEVIEN
No matter what critics write the
People got up and cheered because Connie Bennett in "Lady With a
Past" proved that a girl could be both interesting and nice. But others
said it was ridiculous to try to imagine the poised Connie getting hot
around the collar just because a man paid attention to her. Yet everybody
liked the film. Here's the new naive Connie with David Manners
[ CONTINUED FROM PAGE 6 ]
she wants to — so much the better. It shows
a daring personality and makes her quite
irresistible.
Elizabeth Ackerxey, London, England.
HOW ABOUT IT, FRANK FAY?
T adore Barbara Stanwyck; she is one of my
favorites and I never miss her pictures, but
why doesn't she quit talking about how much
she loves her husband, Frank Fay? It's okay
with me if a woman loves her husband, but
why broadcast it continually?
Why doesn't she emulate the example of the
great Garbo with her mystery and tragic love
affairs or glorious Gloria Swanson who, al-
though married several times, still seeks
romance and is always in love with love?
Madge Drake, Portland, Oregon.
DON'T GET CHIC, ANN
Please save Ann Harding from becoming
chic, or whatever it is the studio wants her to
do. Ann Harding is the one spirituelle star of
the screen; the one person who re-establishes
our belief in the purity of the human heart.
Wc want her left just as she is.
K\ ay Walmsley, Balboa, Calif.
THAT LADY'S PAST
I hope that the movie producers saw "Lady
With a Past" and noted that it is quite possible
for a girl to be good and interesting at the same
time.
M. L. Smith, Ft. Worth, Texas
10
LIFE VS. MAKE BELIEVE
Sex pictures do not appeal to me, but not for
the reason that I think they will lead us
to the wrong path. It is my opinion that any
normal young person with even an ounce of
common sense will not allow what he sees on
the screen to turn his head. The reason I don't
like these films is that sometimes they are so
crude and raw that they are no longer enjoy-
able.
Some may say. " So is life." But we are
well aware of that fact, and the principal
reason we enjoy movies is because we may live
for a few hours in a make-believe world.
Instead of giving us pictures that make us
reflect on the wickedness of humanity, give us
some good clean entertainment that will make
us think instead that "this is not such a bad old
world after all."
Libia Tolomei. Pittsburgh, Pa.
YES, MR. EXECUTIVE
While attending business college I also at-
tended the movies regularly. Many pictures
show business offices, business men and women,
executives, etc. By watching I learned the
difference between a good secretary and a poor
one. also what to say and how to say it in a
business-like manner and, at the same time,
graciously.
I observed what is suitable for a girl to wear
in an office and how to stand and to sit
correctly.
In an interview for a first position all this
proved valuable. And this may be a hint to
other girls who wish to succeed in the business
world.
Nancy Hage, Seattle, Wash.
AT LAST! GARBO EXPLAINED
Greta Garbo doesn't avoid people because
she is the victim of phobias and complexes. She
does it because she is Swedish. Swedish people
are the most reserved on the face of the earth.
They are fiercely proud of their own inde-
pendence and occasionally ungracious, prefer-
ring, for the most part, their own society.
Colonel Lindbergh is precisely this type; so,
apparently, is Miss Garbo.
It is this quality that has enabled the two of
them to remain level-headed after having been
raised to the dizziest pinnacle of public favor.
Marchette CHUTE, Minneapolis, Minn.
Here are a few facts that will make readers
understand Greta Garbo better.
Reticence is an ordinary characteristic of her
race.
The majority of Swedish girls attain their
full height at the age of thirteen.
Five feet, six inches, is not an unusual height
for a woman in Sweden and any woman under
five feet, four is considered short.
In ordinary good society a person who avoids
becoming conspicuous is called genteel, and a
lady.
Therefore, we must assume that there are
different rules for screen people, to account for
the reporters hounding Greta Garbo.
Mrs. J. Spartix, Chicago. 111.
Yesterday I passed a florist shop and ex-
claimed at the unusual and beautifully colored
roses in the window. As I drew nearer. I
realized that they were not real roses at all, but
just beautifully made artificial ones. These
roses symbolized Garbo — artificial but so un-
usual, so beautifully formed and graceful that
they were a delight to behold.
Mrs. Care Sahnon, .Amsterdam, X. Y.
GARBO'S FANS WILL GET YOU
After all the high expectations it was pitiful
to witness the exhibition of wooden and uncon-
vincing acting in " Mata Hari." Lionel Barry-
more furnished the only authentic and con-
vincing moments in the piece. The rest of the
cast were terrible. The expert Lewis Stone,
usually so reliable, so competent, put on a false
sternness along with that false chin whisker.
The handsome Mr. Xovarro, being so obviously
good, so incredibly naive, was without reality.
Louise Bradex, Dubuque, Iowa.
I understand that they worked for months
sewing sequins on Garbo's gowns for "Mata
Hari." What I would like to know is. what
was the scenario department doing all that
time? Judging by the results — playing
pinochle.
Xatalie Kay, Long Beach, Calif.
ARLISS ARGUMENT
What the American public wants and needs
today are more pictures like "The Man Who
Played God'' with George Arliss. This is the
kind of picture that leaves everyone something
worth while to think about and one that gives
every man, woman and child more faith in the
Infinite.
Lillian B. Warner, Charleston, W. \'a.
I think it is a pity that an outstanding artist
like George Arliss should be allowed to play in
such a poor vehicle as "The Man Who Played
God."
He is at his best in historical or sym-
bolical plays like "Disraeli" and "Old
English. "The Millionaire" was not good
enough for him, but "The Man Who Played
God " is worse.
E. Griffith, Montreal, Canada
audience always has the final word
NO MORE WHOOPEE
My friends and I go with a crowd of girls
who believe in keeping up with the modern
times. A while back our families raised a kick
because the girls seemed so brazen and acted
too whoopee to suit them. This year, however,
the girls have calmed down and seem much
more refined.
The mother of one of the fellows asked what
was the cause of the decided change in our girls
and we told her it was because of the change in
the movie actresses; that a year ago all the
actresses were hey-hey, but now they were
typifying the modern girl as a more sweet,
refined type. The boy's mother was very much
impressed and said that if that was true she
wanted to thank the motion picture industry.
That goes for us. too. We like our girls much
better in this new pose.
Bill Richards, Urbana, 111.
MORE SPICE WANTED
I'm sick of this continual cry, "Why don't
they give us more pictures like 'Daddy Long-
legs'? " I, for one, am perfectly satisfied with
pictures as they are. Certainly no one in his
right mind would care to sit through variations
of "Daddy Longlegs" for the rest of his life.
We need variety.
Billie Reel, Butte, Mont.
BUT NORMA SAID IT
Sara Hamilton's article on Norma Shearer
was the peppiest I've read in a long time, but
how can she say Norma doesn't like clothes?
Both on and off screen la belle Shearer is ex-
quisitely dressed. Not even the finest creator
of fashions could make her the well gowned
woman she is. It requires a certain amount of
interest and good taste to wear the things that
she does.
Mary G. Smith, Rochester, N. Y.
YESTERDAY OR TOMORROW
Even Ruth Chatterton's most loyal fans can-
not continue forever condoning poor play's for a
favorite. It is safe to predict that many more
"Tomorrows and Tomorrows" will relegate the
inimitable Chatterton into yesterday and the
day before yesterday. Today is the time to
remove the gloom and give this fine actress and
her fans a chance for a couple of smiles.
Mrs. S. G. Scott, Phoenix, Ariz.
RIGHTO, MISS GREENE
There is no reason for anybody being ugly,
dull or uninteresting. Most all of the stars
have changed themselves into beautiful
creatures. Why can't we try it?
Miss I. Greexe, Kokomo, Ind.
MURDERING POE'S MURDERS
I have just seen "Murders in the Rue
Morgue" and I am horrified to see what Carl
Laemmle, Jr., has done to Edgar Allan Poe's
classic. Why invent that erratic figure, Dr.
Mirakle, and those absurd experiments with
gorilla's blood? No doubt the audience expects
to find a few necessary changes in a well known
story rewritten for the screen, but to keep the
title, the names of some of the characters and
the author's name is not enough.
Jeanne B. Price, Bronxville, N. Y.
ROMANCE EASY
Anyone can be himself. Any man can make
love to a beautiful girl. Or any girl can be
romantic when a handsome young man puts
his arms around her. But it takes an actor to
See that long, slow look on Marlene Dietrich's face? Ladies and gentle-
men— that's art, say lots of this month's letter writers. "Let the others
rant and rave on the screen and call it acting if you like," one lad writes,
"but Marlene's repression tells more than all the mad histrionics." Clive
Brook and the Dietrich inspired clapping hands in "Shanghai Express"
be something he is not. It takes a Barrymore
to be the arch fiend in "The Mad Genius" and
a Lugosi to be the vampire of "Dracula." Let
us have more of Edward G. Robinson, George
Arliss, Lionel and Jack Barrymore and less of
Garbo, Robert Montgomery, Buddy Rogers.
Arnold McCombs, Hartford City, Ind.
TURN AROUND, JACK
It would be a treat to have John Barrymore
turn around and look the camera in the eye. I
am one of the many under the impression that
Mr. Barrymore is a wafer-like person without a
third dimension. That perfect profile has had
its day. Barrymore can afford to meet his
public "face to face." He might surprise us.
John Nuxgesser, Brooklyn, N. Y.
IN DEFENSE OF NORMA
Why just because Norma Shearer is a de-
voted wife and mother shouldn't she enact the
role of Amanda in "Private Lives"? A capri-
cious, shrewish young woman I will admit —
but what ot it? Could you mention one other
star with the sparkle and sophistication to play
that same role?
Belle Shillipc, Detroit, Mich.
MOVIES AND FAIRY STORIES
I said to my ten year old daughter, after
taking her to see "Mata Hari," "There are
some scenes in such a picture that I hate to
have you see."
"Why. mother," was the reply, "the movies
seem like a fairy story to me."
So perhaps a generation brought up on such
grim details as the terrible punishments in-
flicted by the cruel stepmother, need not worry
too much about the effect of the pictures on our
children's minds.
Mrs. Ellen T. Woods, Kent, Conn.
DON'T SOCK THE GIRL FRIEND
I hope that boys will not get the idea that it
is the smart thing to do to slap an innocent girl
vigorously in the face if he is provoked, as did
Doug Jr. in "Union Depot." Boys are apt to
take up such ideas.
Mrs. Wilma Stein, Goshen, Ind.
GARBO AND JOAN
Joan Crawford has been referred to as trying
to imitate Garbo. Garbo should feel flattered.
Joan has one thing Garbo can only imitate —
personality. And she has another thing that
Garbo will never have — beauty. I think Garbo
is uninteresting.
Gussie Chambers, Dublin, Ga.
NO GABLE JEALOUSY
We men have always been accused by the
fairer sex of jealousy and secret envy whenever
we have dared to express our disgust at their
ravings over some of the marcelled, lollipop
types of screen lovers.
Now the mighty Clark Gable, greatest
female heart accelerator of all time, enters the
movie scene. Are the "small minded" males
jealous? No! I think it safe to say that most
men wholeheartedly admire and approve of
him. Does this prove that our criticisms are
not based on jealousy?
Rupert Stephens, Duncan, B. C, Canada
[ please turn to page 12 ]
11
A Cross-Index of the World's Movie Opinions
So the battle raged! And the
focal point of that not-very-
private war was "Freaks."
Boohs and hisses and shocked
surprise accompanied lots of
letters, while some of the
writers felt it made blessing
counting easier to see those
poor unfortunates. At the
left is one of the contro-
versial scenes with Baclanova
and midget Harry Earles
Atta boy, Jimmy Durante!
Go to it, Buster Keaton! We
said you'd like "The Pas-
sionate Plumber" and you
did. The folks are always
begging for comedies. "This
sort of thing is what relieves
the depression," one fan
wrote. And isn't he right?
[continued from page 11 ]
LOYAL TO NANCY
I'm a staunch Nancy Carroll fan. In my
opinion she tops the list. What if she did get a
divorce? Most of the stars have done that
several times. Maybe her last two pictures
weren't such big hits, but it wasn't her fault.
Why don't they give her a good story and she
will make a big hit?
Ralph Gurley, Norfolk, Va.
BUDDY'S IDEALS
All the wisecracks of the Hollywoodians can-
not change the opinion of a few people who
stand for the clean things in life that Buddy
Rogers represents. We girls would have to
look quite awhile before we could find a friend
who comes up to the standards and ideals that
Buddy has instilled in our minds.
Alice Lane. Fostoria, Ohio
LUCKIEST MAN
Who's the luckiest man in Hollywood?
Douglas Fairbanks Jr., with a famous father;
an opportunity to study in Europe; abilities as
a poet, artist and actor and the most beautiful,
alluring, charming and attractive wife — Joan
Crawford.
F. Lego, Plainville, Ga.
REAL MAN REN
When a man sticks by a woman, once so pub-
licly adored, who suddenly finds herself losing
favor with the millions, he must be real. That
must have been what Clara Bow thought when
she realized what it meant to have a lover who
was also a true friend. Rex Bell has shown
what it means to be a real man. This man had
the courage to admit he loved Clara, and to
prove it.
Catherine Haut. Indianapolis, Ind.
HI ENOS VIKKS VIEWS
Thank heaven for American movies. Even
this city lias American films in the vast
majority. The natives don't laugh when I do,
perhaps, but they are just as interested in
Marlene Dietrich, Charlie Chaplin, Jackie
Cooper and Garbo as I am. You might think
that the city would be crazy over Novarro,
Velez, Cortez, etc., but, surprisingly enough.
Argentina is very pro-French in its picture
favorites. Chevalier and the great Menjou
make big hits here.
Law rente Field, Buenos Aires,
South America
TAKES WALLY'S PLACE
At last we have a successor to our beloved
Wallace Reid in James Dunn. Not only does
he resemble Wallace, but he has the same smile
and natural charm that endeared Wallace Reid
to thousands. Let us see more of him and Sally
Eilers.
Constance Arnold, Brighton, England
MARLENE'S RESTRAINT
People think that just because Marlene
Dietrich is beautiful and shapely it is enough.
But she has great art as well. Because she
never screams or makes queer facial contor-
tions in her pictures people say she can't act.
She makes us feel her part without resorting to
these tricks. Her performances are always a
perfect example of restraint, quiet forcefulness
and good taste. Nor is her voice expression-
less. See her latest picture "Shanghai Ex-
press" and maybe you will be convinced.
Harry Biermax, New York City
AMONG HER SOUVENIRS
A girl friend of mine who is spending the
winter in California and whose uncle works at
the studios, has just sent me a hairpin which,
she says, belonged to Marlene Dietrich. And
am I thrilled ! Doesn't that prove in a measure
what power the stars have over us "everyday
people"?
Daisy Comxgtox, Harrisburg, 111.
GERMAN OPINION
If Hollywood does not want to lose the
German market, it will be necessary to ac-
commodate the versions to that which the
German cinema visitors want to see — pictures
without the typical Hollywood atmosphere and
without exaggerated improbabilities, but
players of flesh and blood like Sylvia Sidney, in
"An American Tragedy." Even Marlene
Dietrich's pictures, especially "Morocco,"
have disappointed.
Otto Behrexs, Berlin, Germany
PERTINENT LINES
The actors in talking pictures are required to
use English that is superior to that of some of
our college professors. I speak with authority
because I am a college man.
Orlando La Yarre, Kansas City, Mo.
I have a sister in high school. When she goes
to see Constance Bennett she walks around for
days, her head high in the air and looks at
everybody else like they were worms. Then if
it's the Tashman lady she gets big ideas about
clothes and tries to dress up in her best clothes
for school. Sometimes she tries to fix her
hair like Gloria Swanson. I sure give her the
ha-ha.
I like regular guys like Wallace Beery,
William Powell and Joe Brown, and I don't like
the dames who just wear clothes and try to
show off.
Marie Dressier is my favorite. You know
she might shake you if your ears weren't
washed clean, but she might hand you some
molasses cookies afterwards. I like to read
your magazine after the girls are through
raving about it.
R. J. Ballard, Jr., Greensboro. N. C.
Judging from the title I thought " Lady With
a Past" a suitable vehicle for Constance
Bennett. And then I saw it and haven't re-
covered from the shock yet. Constance
Bennett, the sophisticated, the glamorous, as a
nervous, ill-at-ease young debutante! A great
strain on the imagination. I must admit!
Marox Greer, Columbia, S. C.
The sweet part about ''Emma" and "Hell
Divers" is that you can take your girl and not
get warm about the collar as you do when they
show the sex stuff of so many pictures.
J. F. Barker, Santa Barbara, Calif.
We are tired of hearing over and over that
Garbo and Gable are good. We like George
Arliss and Ann Harding and Fredric March,
with their real acting.
Ann Stewart, Shreveport, La.
Photoplay Magazine for May, 1932
BORIS KARLOFF
MAE CLARKE
NIGHT
WORLD
■ »»
99
An appalling torrent of conflicting human emotions
swept the highways of laughter, tears, romance
and crime, in one single, hectic, never-to-be-for-
gotten night. God! What a mess it made of life.
Directed by Iloburr Henley
UNIVERSAL PICTURES
Universal City, California
Carl Laemmle
President
730 Fifth Avenue, New York
Brief Reviews of Current Pictures
[ CONTINUED FROM PAGE 8 ]
*FLYI\<; HIGH M-G-M.— Comedy with
■nappy music used in just the right places,
dancing, good singing, Bert Lahr and Char-
lott> ■ :. {Jan.)
FOOL'S ADVICE, A— Prank Pay Prod.— Frank
Fay produced and acted in tins. (April)
FORBIDDEN Columbia. Barbara Stanwyck,
Adolphe Menjou and Ralph Bellamy give fine per-
formances in a gloomy "wages of sin" story. (Feb.)
FORGOTTEN WOMEN— Monogram.— A bevy
nut' ul girls almost saves this dull yarn about a
newspaper I it not ouitel (March)
• FRANKENSTEIN — Universal. — Not for
faint-hearted folks. 1 Lrong horror stuff
which leaves you breathless. But what docs that
matter? See it. Boris Karloff out-terrors Lon
y. (Jan.)
FREAKS— M-G-M.— A vivid story of the sordid
• the pathetic side-show folks. (March)
FREIGHTERS OF DESTINY— RKO-Pathe.—
Cowboy souks and good comedy put the ginger in
this Western with Tom Keane and Barbara Kent.
(Jan.)
(,\Y BUCKAROO— Allied Prod.— Hoot Gibson
St, Roy D'Arcy his worst and Merna Ken-
nedy her sweetest in this formula Western. (Jan.)
f.W CABALLERO. THE — Fox. — George
O'Brien riding and rescuing fair damsels again.
(April)
GIRL OF THE RIO— Radio Pictures.— Dolores
Del Rio comes back strong in this mildly interesting
talkie version of "The Dove." (Feb.)
• GIRLS ABOUT TOWN— Paramount.— The
old gold digger story all dressed up in new
clothes. Kay Francis and Lilyan Tashman wear the
clothes and speak those smart lines. (Dec)
GOOD SPORT— Fox.— Whistle the story— it's
that old and that familiar. But it has good dialogue
and Linda Watkins. (Jan.)
• GREEKS HAD A WORD FOR THEM,
THE — United Artists. — Sophisticated, smart
and different — honestly! Ina Claire, Madge Evans
and Joan Blondell are the three gold diggers. Not
for children. (Feb.)
GRIEF STREET— Chesterfield.— A wobbly mys-
tery story with pretty Barbara Kent and John
Holland. Save your time. (Dec.)
GUILTY GENERATION, THE— Columbia.—
No machine guns but plenty of action in this beer feud
drama. Leo Carrillo stars. (Jan.)
• HATCHET MAN, THE— First National.—
Eddie Robinson goes in for Tong wars and
gives a striking performance. Loretta Young, as a
Chinese girl, is lovely. (March)
HEARTBREAK— Fox.— This has a war back-
ground but it's really a sweet love story. Madge
Evans (what an actress!) takes honors from Charlie
Farrell, a good actor, too. (Dec.)
III. WEN ON EARTH— Universal.— Recom-
mended only for Lew Ayres fans. (Nov.)
• HELL DIVERS— M-G-M.— Wallace Beery,
(.lark Cable and the United States Naval Air
- turn out a picture of peacetime aviation you
won't forget. (Jan.)
• HELL'S HOUSE Ziedman Prod— fReviewed
under the title "Juvenile Court"). Have
yourself a good cry over this excellent and pathetic
story. Junior Durkin and Pat O'Brien are splendid.
(pa.)
HER MAJESTY LOVE— First National— Mar-
ilyn Miller, as a beautiful barmaid, tosses off songs
ery glass of beer. This is light, but pleas-
antly entertaining. (Jan.)
HIGH PRESSURE— Warners— A breezy Bill
Powell picture of the "Get-Rich-Quick Wallingford"
Both Powell and Evelvn Brent are splendid.
(March)
HIS WOMAN— Paramount.— Gary Cooper and
Claudette Colbert try- hard but a baby steals the
picture with its lusty bawling. Claudette plays a
tarnished lady. (Jan.)
HOMICIDE SQUAD — Universal. — Ho-hum,
another gangster picture. (Nov.)
HONOR OF THE FAMILY— First National.—
Nothing left of the Balzac story but the title. Bebe
Daniels is a hot-cha-cha adventuress heroine. (Nov.)
HOTEL CONTINENTAL— Tiffany Prod.— Sus-
pense, action and lavish sets make this story of hidden
plunder and a crook entertaining film fare. (April)
HOUSE DIVIDED, A— Universal— Life in the
raw with Walter Huston as a hard-boiled sea captain
whose wife falls in love with his son. Huston is grand.
(Jan.)
HURRICANE HORSEMEN, THE— Willis Kent
Prod. — A fast moving thriller, with plenty of Spanish
atmosphere. Lane Chandler has the stuff. (Dec.)
HUSBANDS HOLIDAY — Paramount.— Clive
Brook vacillates between wife and seductive siren.
Amusing enough. (Feb.)
• IMPATIENT MAIDEN. THE— Universal-
Lew Ayres thinks he should make a "good
woman" of Mae Clarke but she has other ideas. So
they make a good movie. (April)
IN LINE OF DUTY— Monogram Prod.— The
Northwest Mounted Police get their man again. This
time it's Noah Beery. Sue Carol is the girl. (Dec.)
IS THERE JUSTICE?— Thrill-O-Drama.— In
spite of a good cast this yarn about attorneys, crooks
and newspaper reporters just isn't there. (Feb.)
• LADIES OF THE BIG HOUSE— Para-
mount.— An emotional story about women
prisoners, with some terrific scenes you'll never forget.
Sylvia Sidney does her best work. (Feb.)
• LADIES OF THE JURY— Radio Pictures.—
This movie is one of the big laugh-makers of
film history. And Edna May Oliver — but you know
how swell she is! Take the children. (Feb.)
• LADY WITH A PAST— RKO-Pathe.—
Connie Bennett as a real person this time.
You'll be sorry if you miss it. (April)
LAW OF THE TONGS— Willis Kent Prod.— A
Chinaman is the gentle hero in this melodrama.
You'll shed a tear or two over his death. (Feb.)
LEFTOVER LADIES— Tiffany Pro. I. —Divorcees
talk a lot about careers and freedom in dreary
dialogue. Claudia Dell, in a brunette wig, is good.
(Dec,
LOCAL BAD MAN, THE— Allied Pictures— A
mild Western with Hoot Gibson gone naive. (March)
• LOCAL BOY MAKES GOOD— First Na-
tional.— Joe E. Brown is funnier than he
been, in this story of a college grind with inhibitions
and botanical aspirations. (/
• LOST SOUADRON, THE— Radio Pictures.
— A fine, behind-the-screen aviation picture
about an unscrupulous director who sacrifices i
thing for realism. (April)
LOVE STORM. THE— British International.—
Three men and one woman are exiled to a lighthouse.
Even a murder doesn't speed things up. Dreary fare.
(Dec.)
• LOVERS COURAGEOUS— M-G-M. — An
old story done beautifully by Bob Montgomery
and Madge Evans. You'll like it. (March)
MAKER OF MEN— Columbia.— A football
coach is the hero of this appealing, if slightly
moving story. Good work by Richard Cromwell and
Jack Holt. (Feb.)
MANHATTAN PARADE— Warners.— Broadway
gets a chance to see itself satirized. Laughs by the
vaudeville team of Dale and Smith, helped by Win-
nie Lightner and Charles Butterworth. Technicolor.
(Feb.)
MAN WHO PLAYED GOD. THE— Warners.—
An unusual theme, with George Arliss dominating the
picture. Decidedly worth your while. (March)
• MATA HARI— M-G-M.— Garbo and Novarro
are co-starred in a glittering story of the most
romantic of all war spies. Grand supporting cast in-
cludes Lionel Barrymore and Lewis stone. (Feb.)
MENACE, THE— Columbia. — Recommended for
ardent mystery fans only. (April)
MEN IN HER LIFE— Columbia.— The dialogue
crackles, but the old story creaks. All about a rich
girl in Europe and a rough and ready American. Lois
Moran and Charles Bickford both good. (Jan.)
MEN OF CHANCE— Radio Pictures.— The old
story of the woes of a gambler's wife, well acted by
Ricardo Cortez and Mary Astor. (Feb.)
MICHAEL AND MARY— Universal.— Matinee
idol Herbert Marshall should have belter material
than this slow moving English film. Wife Edna Best
plays opposite him. (March)
MONSTER WALKS, THE— Action Pictures.—
Another horror picture. (April)
[ PLEASE TURN TO PAGE 16 ]
Photoplays Reviewed in the Shadow Stage This Issue
Save this magazine — refer to the criticisms before you pic\ out your evening s entertainment. Ma\e this your reference list.
Page
After Tomorrow — Fox 50
Amateur Daddy — Fox 90
Are You Listening?— M-G-M 48
•Blonde Captive, The — Australian Ex-
pedition Syndicate 91
Broken Wing, The — Paramount 51
But The Flesh I> Week— M-G-M.. . 48
Careless Lady — Fox 50
Carnival Boat— RKO-Pathe 91
Cheaters at Play — Fox 91
Cohens and Kelleys In Hollywood —
Universal 90
Crowds Roar. Tin — Warners 51
Dancers in the Dark — Paramount. . 50
Destrj Rides Again — Universal .... 50
Page
Devil's Lottery— Fox 51
Famous Ferguson Case, The — First
National 90
Girl Crazv — Radio Pictures 90
Grand Hotel— M-G-M 49
Heart of Xew York. The — Warners. . . 90
It's Tough to be Famous — First Na-
tional 51
Keepers of Youth — Best International
Pictures 91
Law and Order — Universal 49
Law of the West — Sono Art— World
Wide 91
Miracle Man, The — Paramount 49
Page
My Wife's Family — Best International
Pictures ' 90
Play Girl— Warners 50
Scarface — LTnited Artists 48
Shadow Between, The — Best Inter-
national 92
So Big — -Warners 51
Stowaway — Universal 91
Tempest— UFA 92
Vanity Fair — Allied Pictures 90
Wet Parade— M-G-M 49
Whistiin' Dan— Tiffany Prod 91
Why Saps Leave Home — Best Inter-
national Pictures 91
Young Bridi — RKO-Pathe 50
u
Photoplay Magazine for May, 1932
lS
The magic symbol of
great achievement
1927 The BIG PARADE
1928 BEN H U R
The
1929 Broadway Melody
1930 The BIG HOUSE
1931 TRADER HORN
the eyes of the world are again on
METRO - GOLDWYN - MAYER
I •
1 i
IS
t-
FOR THE SUPREME THRILL OF
THE MOTION PICTURE SCREEN
giant romance
of our times
I
based on the I
SENSATIONAL
NOVEL
by UPTON
SINCLAIR
He dared to tell the
truth — sensationally,
dramatically — in one
of the greatest stories
ever written for the
American Screen.
with Walter HUSTON
Dorothy JORDAN • Lewis STONE
Neil HAMILTON • Myrna LOY • Wallace FORD
John MILJAN • Virginia BRUCE
i6
Photoplay Magazine for May, 1932
ANDY CLYDE -Lav
aide, riiitnrul \ n.l \ . . .
in pictnroi produced
by M M K SENN1 IT
... a run- combination
for laughs.
Don"! miu"HE WENS,
MY III SBAND!"
e Variety-
makes the best picture
entertainment
TlIE Chicago
Daily Times "In-
quiring Reporter""
recently asked six
persons selected at
random from street
crowds if they liked
"douhle feature"
programs in picture
theatres. Five out of
six said they pre-
ferred variety.
99
B/.YG CROSBY-Uis
roles in .MACK SEN-
N E T T COMEDY
FEATLRETTES
ha\e made him as
popular on the screen
as on the air. Have
> "ii seen him . . . and
heard him... in "ONE
MORE CHANCE"
and "BILLBOARD
GIRL"?
Of course. The perfect program is
always hased on the principle of
variety and diversified entertain-
ment. One good feature picture,
surrounded hy a hill selected from
news reels, cartoons, travel ro-
mances, sports thrillers and nov-
elties. And always a good comedy!
At hetter theatres — on perfect pro-
grams— Educational' s comedies
provide the stimulating variety that
guarantees the !;est entertainment
for vou.
o
'•S XT'
7/IRRV HA R It I S- Another
popular radio star brought to the
screen by Educational. This piano
vi/.ir.l and composer plays and
sines his popular hits for \ mi in
\l. CHRISTIE'S VANITY
COMEDIES.
"THE SPICE OFTHE PROGRAM
EDUCATION \L FILM EXCH \XGES, Inc.
K. W. II VMMONS. President
Executive offices: 1301 Broadway, New York, N. Y.
Brief Reviews of Current Pictures
[ CONTINUED FROM PAGE 14 ]
MORALS FOR WOMEN— Tiffany Prod.— This
"it's the woman who pays'' yarn lakes a couple of new
routes and brings back trouper Bessie Love. (Jan.)
MURDER AT DAWN— Big Four Prod.— A
grizzly mystery yarn in which the actors are more con-
fused but not as amused as the audience. (April)
i MURDERS IN THE RUE MORGUE—
W Universal. Here's another shocker for you
with plenty of thrills and chills. Bela Lugosi and the
ape deserve a big hand. (March)
MY SIN Paramount. — Tallulah Bankhead and
Fredric March in one of those "should a woman tell
her past?" things. (Nov.)
MYSTERY TRAIN. THE— Darmour Prod.— Old
school mystery melodrama with plenty of sure-fire
hokum and suspense. (Nov.)
NECK AND NECK— Thrill-O-Drama — Only
Stcpin Fetchit's funny face and voice save this dull
race-track story from a complete case of the dol-
drums. (Jan.)
• NEW ADVENTURES OF GET-RICH-
QUICK WALLINGFORD, THE— M-G-M.—
And they said William Haines was slipping! See this
knock-out comedy with Billy and the cominK big
shot, Jimmy Durante, to be convinced they're
wrong. (Nov.)
NICE WOMEN — Universal. — A trite plot proves
entertaining because of Sidney Fox, Russell Gleason
and Frances Dee. (April)
NIGHT BEAT— Action Pictures. — Unless you
simply can't exist without another gangster picture,
pass this one by. (March)
NIGHT RAID (Un Soir De Rafle)— Osso Prod.
— A lively French film about a prize-fighter, his real
sweetheart and a siren. Amusing. (Dec.)
NO ONE MAN — Paramount. — Sumptuous
clothes, gorgeous sets, smooth direction. Carole
Lombard and Paul Lukas almost make up for the
tottering plot. (March)
OLD SONG, THE (Das Alte Lied)— Austrian
Cinderella. Lil Dagover brightens it considerably.
German dialogue. (Nov.)
ONCE A LADY — Paramount. — Charming sim-
plicity and Ruth Chatterton's acting redeem a not too
original story. (Dec.)
• ONE HOUR WITH YOU— Paramount— A
gay, naughty farce with Maurice Chevalier and
Jeanette MacDonald. It has music and grand
Lubitsch touches. (April)
ONE WAY TRAIL, THE— Columbia.— The Kids
will love these exciting adventures of handsome Tim
McCoy. (Dec.)
OPERA BALL — Greenbaum-Emelka Prod. —
English lines flashed on the screen make it possible
for you to enjoy this sprightly German production of
Viennese night life. (Jan.)
• OVER THE HILL— Fox.— Mae Marsh's
screen return as the self-sacrificing mother un-
wanted by her children. Jimmie Dunn and Sally
Eilers, too. (Jan.)
PAGAN LADY— Columbia.— The. SadieT horn "sen
theme in a new dress, with Evelyn Brent wearing it
becomingly. (A'ov.)
PANAMA FLO — RKO-Pathe — Different situa-
tions went haywire in a potpourri of speakeasies,
honkey-tonks and jungles. So what could Helen
Twelve-trees and Charlie Bickford do? (March)
PARISIAN, THE— Capital Prod.— This attempt
at a smart story made in England with Adolphe
Menjou and Elissa Landi proves that these glamour
kids get that way in Hollywood. (Nov.)
• PASSIONATE PLUMBER, THE— M-G-M.
— This couldn't be crazier, but it's as funny as
it's crazv. Buster Keaton and Jimmv Durante.
(April)
PEACH O'RENO—RadioPicturcs — Bert Wheeler
and Robert Woolsoy in an absurd plot concoction of
Reno's divorce colony. Short on romance but long on
laughs. (Jan.)
PENROD AND SAM — First National.— If you
haven't forgotten how it feels to be a kid you'll love
Leon Janney and Junior Coghlan in this. (Nor.)
PERSONAL MAID— Paramount.— Nancy Car-
roll gets all mixed up in a namby-pamby plot. (Nov.)
• PLATINUM BLONDE— Columbia.— Youth
and beauty, comedy and drama — and Jean
Harlow. A well done newspaper yarn. See it. (Dec.}
POCATELLO KID, THE— Tiffany Prod.— Ken
Maynard in another Wild Western setting; Marceline
Day, the lady in distress. (Feb.)
POLLY OF THE CIRCUS— M-G-M.— Marion
- and Clark Gable in a modernized version of an
old favorite. (April)
• POSSESSED— M-G-M— What a pair Joan
Crawford and Clark Gable make in a picture
that has plenty of action, sophistication, and gorgeous
clothes. (Jan.)
PRESTIGE— RKO-Pathe. — Ann Harding is
lovely, which doesn't nuite compensate for this hap-
hazard yarn about a tropical penal colony. (March)
• PRIVATE LIVES M-G-M. Norma Shearer
and Bob Montgomery do good team 9,
this farce made amusing by priceless, if risque, lines.
Vou one hundred per cent sophisticates will have
yourselves a fling. (Feb.)
RACING YOUTH— Universal.— If you aren't too
critical, you'll enjoy this story of automobile road
racing with Frank Albertson. June Clyde and Louise
Fazenda. (Jan.)
RAI NBOW TRAIL.— Fox.— George O'Brien tries
to make a weak Western come to life. (Feb.)
RANGE FEUD, THE— Columbia.— Buck Jones
may be your favorite Western vtar but you'll twiddle
your thumbs at this banal old story. (Dec.)
RANGE LAW— Tiffany Prod.— This Western
taxes the credulity but Ken Maynard does some slick
riding. (Jan.)
RECKLESS LIVING— Universal.— An entertain-
ing little picture. (Nov.)
RICH MANS FOLLY— Paramount.— One of
those stark dramas in which George Bancroft as an
ambitious shipbuilder wrings sympathy out of an un-
sympathetic role. (Jan.)
RIDERS OF THE PURPLE SAGE— Fox —A
grand Western with fast action, grand Arizona
scenery and marvelous production. George O'Brien
and Marguerite Churchill excellent. (Dec.)
ROAD TO LIFE, THE— Amkino — How the
Soviet government turned the wild children of
Moscow into able citizens. Russian dialogue with
English titles. (April)
ROAD TO RENO, THE— Paramount— Divorce,
murder, suicide and an important cast fail to make
thisanything but a picture that just doesn't jell. (-Vor.)
SADDLE BUSTER, THE — RKO-Pathe. — A
Western without a shot fired. (April)
SAFE IN HELL— First National.— The only re-
deeming thing about this sordid story of a shady lady
is the work of Dorothy Mackaill, who deserves better
stuff. (Jan.)
SALLY OF THE SUBWAY— Action Pictures.—
A story of high-class crooks. Entertaining enough,
(April)
SEA GHOST, THE— Imperial Prod.— Laura La
Plante wasted on this cheap, ridiculous story.
SECRET SERVICE— Radio Pictures.— Adven-
tures of a Northern spy behind the Confederate lines.
Richard Dix tries too hard. (Dec.)
SECRET WITNESS, THE— Columbia.— ZaSn
Pitts as a flustered telephone operator adds her usual
deft humor to a mystery with a double murder and a
couple of suicides. (Feb.)
• SHANGHAI EXPRESS — Paramount. —
Oriental drama runs rampant with Marlene
Dietrich, Clive Brook, Anna May Wong and Warner
Oland. Don't miss this exciting film. (April)
SHE WANTED A MILLIONAIRE— Fox— A
beauty contest winner and a mad millionaire. Joan
Bennett. (April)
SHANGHAIED LOVE— Columbia.— Mutiny and
gory evil-doings at sea. Too much dialogue. Not
enough action. (Nov.)
SHOP ANGEL— Premier Attractions.— If you're
very, very romantic you'll like this. (April)
SHOULD A DOCTOR TELL?— Regal Prod-
Dreary talk about dreary ethics. Who cares? (Nov.)
SILENT WITNESS, THE— Fox.— A court-room
Story that is good enough for an evening. And watch
out for this boy Lionel Atwill, new to the talkies.
(March)
• SIN OF MADELON CLAUDET, THE—
M-G-M. — One of the greatest mother stories
ever filmed, with Helen (stage) Hayes pulling at your
heart-strings. Don't miss it. (Dec.)
SKY DEVILS— United Artists.— Plenty of giggles,
even if you have seen and heard those gags before.
The air stuff is great. (March)
SOB SISTER— Fox.— You'll like this fast news-
paper yarn and Linda Watkins. Jimmie Dunn is
grand, too. (Nov.)
SOOKY — Paramount. — Even if this does resemble
"Skippy," without equalling its success, young and
old will like it. The gang's all there (Jackie Cooper,
Robert Coogan and Jackie Searl) with tears and
Jaughs. (Feb.)
SPECKLED BAND, THE— First Division.—
Sherlock Holmes is at it again, finding sinister East
Indian death methods used in an English country
bouse. (Jan.)
• SPIRIT OF NOTRE DAME, THE— Uni-
versal.— Knute Rockne lives again in this
powerful football story with Lew Ayres and the real
Notre Dame team. (Dec.)
SPORTING CHANCE, THE— Peerless Prod.—
The famous young jockey throws the race, but is re-
deemed by the love of the stable owner's daughter.
(Jar,.)
STEADY COMPANY— Universal.— The romance
of a working girl and a truck driver. June Clyde,
Norman Foster and ZaSu Pitts. (April)
STEPPING SISTERS— Fox.— Louise Dresser,
Minna Gombell and Jobyna Howland work hard as
hard can be and get only a few mild snickers. (March)
STRANGERS IN LOVE— Paramount— An old
; theme (one twin brother good, the other bad) played
i excellently by Fredric March and Kay Francis.
I (April)
A STRICTLY DISHONORABLE— Universal.
W —You'll love this story of the grand opera
I singer captured by the innocent little girl from
I Mississippi. Paul Lukas, Lewis Stone and Sidney Fox
. all great. (Dec.)
STRUGGLE, THE— United Artists.— Old Massa
; D. W. Griffith has lost his cunning with the mega-
1 phone and this old-fashioned, phony, "Face on the
\ Barroom Floor" melodrama is a sad spectacle for
j those who remember "The Birth of a Nation." (Feb.)
STUDENT'S SONG OF HEIDELBERG, A
(Ein Burschenlled Aus Heidelberg)— UFA.— Rol-
licking tunes, students and Heidelberg campus stuff.
Even if you don't know German you'll enjoy it. (Nov.)
SUICIDE FLEET— RKO-Pathe.— The war on a
wit and wisecracking basis with Bob Armstrong,
Jimmy Gleason and Bill Boyd as the familiar Three
Musketeers — this time in the Navy. (Jan.)
SUNSET TRAIL, THE— Tiffany Prod.— A blonde
in distress. Ken Maynard saves the situation with
gun and fist. And there you are! (March)
SURRENDER— Fox.— Warner Baxter and Leila
Hyams just work their fingers to the bone trying to
make you believe this story about a French officer im-
prisoned in a baron's castle. (Jan.)
• TARZAN, THE APE MAN— M-G-M— A
glorified fairy tale that goes Trader Horn one
better. Swimming champ Johnny Weissmuller is
Tarzan. (April)
TAXI — Warners. — The lowdown on the taxi-cab
racket, with James Cagney and Loretta Young.
Well-done. (Jan.)
TERROR BY NIGHT— Famous Attractions.—
Bet you can't guess before the last reel who did the
murder. A good mystery with comical Una Merkel
and ZaSu Pitts. (Dec.)
TEXAS GUN FIGHTER— Tiffany Prod.— Noth-
ing new in this Western. (April)
TEX TAKES A HOLIDAY— Argosy Prod.— This
story of a Mexican cowboy wanders here, there and
everywhere. But it wanders in color, which is a help.
(March)
Photoplay Magazine for May, 1932
THIRTY DAYS— Patrician.— A wealthy tene-
ment owner plays the regeneration scene in jail.
Betty Compson and Maureen O'Sullivan make it en-
tertaining. (Jan.)
THIS MODERN AGE— M-G-M.— Joan Craw-
ford lovely and dripping box-office appeal in a
ridiculous story. (Nov.)
THIS RECKLESS AGE— Paramount.— In spite
of a grand cast (including Richard Bennett) this yarn
came too late. The jazz age is pretty cold. (March)
TIP OFF, THE— RKO-Pathe.— Fresh guy Eddie
Quillan gets mixed up with gangsters and a sprightly
comedy is the result. (Jan.)
TOMORROW AND TOMORROW — Para-
mount.— A grand but conversational stage play
makes a rather dull "moving" picture. Ruth Chat-
terton and Paul Lukas. (March)
• TONIGHT OR NEVER— United Artists.—
A Gloria Swanson vehicle that sizzles and burns
with snappy love scenes. And there's a new sex
appeal lad named Melvyn Douglas. For the sophisti-
cated. (Jan.)
• TOUCHDOWN — Paramount. — A football
picture that's different — with inside stuff on
crooked methods used. Dick Arlen and Jack Oakie.
(Jan.)
• 24 HOURS — Paramount. — It's not only good
but different. Kay Francis and Clive Brook
are grand. (Nov.)
TWO KINDS OF WOMEN— Paramount.—
Miriam Hopkins is in it. So is Phillips Holmes. The
story is weak but the acting isn't. (March)
TWO SOULS (Zwei Menschen)— Cicero Prod-
Heavy drama and bright spots in the Tyrolese
country neatly combined. English titles make it un-
derstandable to those who don't speak German.
(March)
UNDER EIGHTEEN— Warners.— A neat little
picture, Marian Marsh's first starring one, about an
innocent cloak model and a rich client. (Feb.)
UNEXPECTED FATHER, THE— Universal.—
Another little girl adopts a bachelor daddy. Ho-
hum! Four-year-old Cora Sue Collins toddles off
with the honors. (Feb.)
UNION DEPOT— First National.— Bits of life as
you see it in a railroad station. Doug Fairbanks, Jr.,
turns in a splendid performance, one of his best. (Feb.)
U. S. C.-NOTRE DAME FOOTBALL GAME,
THE— Sono Art-World Wide.— If you're a football
fan, you must see this visual account of one of the
greatest sports events of all time. (March)
WAY BACK HOME— Radio Pictures.— If you
follow Seth Parker on the radio, you'll enjoy seeing as
well as hearing him. He uses all his radio stuff. (Dec.)
WAYWARD — Paramount. — A lot of plots
wrapped in one celluloid package. Nancy Carroll,
Richard Arlen and Pauline Frederick. (April)
WHITE DEVIL, THE— UFA.— Russians in big
fur hats are doing serious things again. You need nit
bother. (Nov.)
WISER SEX, THE— Paramount.— It has gang-
sters and politicians, but it also has Claudette Colbert
and Lilyan Tashman. (April)
WITHOUT HONOR— Supreme.— A Western
with a fair amount of thrills. (April)
WOMAN COMMANDS, A— RKO-Pathe.— Pola
Negri in her comeback film is beautiful and alluring,
but the story is trite and impossible. See Pola,
anyhow. (Feb.)
WOMAN OF MONTE CARLO, THE— First
National. — Lil Dagover bows to American audiences
in a weary, over-talkative drama. Lil could do better
with better material. (Feb.)
WORKING GIRLS— Paramount.— Two beauti-
ful country blondes learn about life in the city. But
not even Paul Lukas and Buddy Rogers can make the
story and dialogue seem real. (Jan.)
X MARKS THE SPOT— Tiffany Prod.— Another
gangster-newspaper story inspired by the Lingle case.
Pretty poor, except for a terrific climax. (Jan.)
YELLOW TICKET, THE— Fox.— Russia before
the revolution. The heroine fights for her honor. Old
stuff made worthwhile by Elissa Landi and Lionel
Barrymore. (Jan.)
ZANE GREY'S SOUTH SEA ADVENTURES—
Sol Lesser. — Author Zane Grey goes fishing in the
South Seas for five reels. (April)
COSTS LESS THAN EVER
FOR fifty days or more of the
year you need sanitary protec-
tion. Modess — the gently fluffed,
surgically clean pad, with safety
backing — gives you perfect pro-
tection and comfort during these
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Johnson & Johnson have reduced
the price of Modess. It is the same
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price. And the price is most de-
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Try Modess. If it isn't com-
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name, address and the price paid,
on cover of box, and mail to us.
We will refund your money.
(J NEW BRUNSWICK. (J N J . U S A.
Modess
SANITARY NAPKINS
i8
Photoplay Magazine for May, 1932
"READ
THAT.
. . if you want the truth!
yy
< reorgia had not meant to speak so bluntly to Leona. It
was a brutal thing to do. After all, Leona was one of her
best friends, and her room-mate. But when Leona accused
lur first of flirting with one of her men friends, and then
hinted that Georgia was leaving her out of "double dates"
with attractive men and asking some other girl, Georgia's
Texas temper got the better of her.
"You know that isn't true, you little fool!" Georgia
cried. "If you've been left out of things, it's your own
fault. I've never had the nerve to tell you until now."
And seizing a magazine, she flipped it open to a current ad.
"There!" she snapped. "Read that if you want the truth
about yourself."
And Leona read.
Maybe if more friends were as frank as Georgia, the
world would be a pleasanter place to live in.
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Send for our FREE book of Etiquette — tells what to wear, say, and do at social affairs. Address: Dept. P.H. 5, Lambert Pharmacal Co. , St. Louis, Mo.
MARIA ALBA thought her big chance had come when she
was given the lead in "In Old Arizona." But her Spanish
accent didn't register and Dorothy Burgess got the part. Heart'
broken, she waited and waited. Now she's in the South Seas
with Doug Fairbanks making "Tropical Knight" — a real break
"\ X 7"HEN that Blondell girl appears on the set, things start.
" * "Come on, darling," she says to the director, "give that
brain of yours some exercise today. Let's go." And all day long
the other members of the cast wear themselves out trying
to keep this peppy little dynamo from stealing the picture
/^XTTUMWA, Iowa, may well be proud of Karen Morley, who
^-^ walked from Hollywood High School into pictures by helping
in a screen test for Bob Montgomery. She delights in playing a
different character in every picture, and she'll soon be seeing her
name in electric lights. One of the quickest rises in film history
Hurrcll
"]\ /TADGE EVANS, the beautiful screen child, now grown up
■*■ ~-*-to sweet sophistication, is face to face with a big decision.
Shall she marry that fine New York lad with whom she is in love,
for the first time, or should she fellow the lone trail of screen
success which leads toward stardem? Difficult, don't ycu think?
TO YOU-
Jinjoy a rest minute now
and then with ice-cold Coca-
Cola. Sixty seconds' worth of
wholesome cheer. A tingling
smack. A bright and breezy
sense of refreshment.
Such is the pause that refreshes.
Only S tf. Always the same high
quality.
THE COCA-COLA COMPANY
ATLANTA, GA.
THE DRINK THAT MAKES A PA
U SET
Lupe Velez. See her in
"The Broken Wing"
REFRESHING
tT^SS^***
PERSONAL
Take a Life Saver I
the breath.
U1L5A?
possibility OfJ^;
EXTRA
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CRY iw« d w,se
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- ■ \i sails flying • - -
By the HOLE Nfc>" t wtth
• Busy day today '^ r ^ th
news! But I rn gfPlgvers rmnts
those dehaous J-rfe rU,t
»»» ers. convent;onhUngan.d ^ smok;ng
that Life Savers are a
enioyment. __ ~TT7eceived on canay
/. * r n— Reports 3"st r" erwhelming ma-
CHl£ri« Sve.V.tton show* «gj«s< tne crystal
?o7uy favor Cryst-O-mmtLtfeb
ST LOUIS ;1«„s.
Close-Ups and Long-Shots
THE day the newspapers
throughout the country
carried the story of the
separation of Ann Harding and
Harry Bannister, a group of six
married women, three of them
motion picture stars, sat at a
luncheon table in the Ambassador
Hotel, in Los Angeles.
They spoke in hushed tones, like physicians in con-
sultation, with the life of the patient at stake. Fear
enveloped the gathering, depressed them: unspoken
fear of the loss of love.
"I feel," said one of the women, "something like I
felt the day I read of the kidnapping of the Lindbergh
baby. It was a shock. I have been trying to tell
myself that such things cannot happen. "
Even cynical and hardened Hollywood writers were
stunned by the abrupt announcement. There had
been, in that hotbed of gossip, no preliminary rumors
to cushion the shock. For days it was the only subject
of conversation.
OX another page of this magazine is a story about
Ann. On still other pages is an airplane view of
the Harding-Bannister home, and the details of the
precautions they are taking to protect their baby.
These pages had gone to press when the separation
was announced.
This marriage seemed so secure. Ann and Harry
seemed to have everything to make love and marriage
safe, even in the treacherous matrimonial waters of the
motion picture colony.
THERE is no doubt but that they have loved each
other; still do. They had perfect companionship.
They have an adorable little girl. They have money.
They have youth. They have health. They had a
home, beautifully and romantically situated in the
hills high above Hollywood. They had worked for
years on the stage together. They had the same
friends. They were interested in the same pastimes.
Both have a grand sense of humor. They are both
ardent devotees of aviation.
That home so physically guarded from intruders
and outside influences, that home they had planned
and designed together, into which
went months of work with their
own hands, seemed actually to be
cemented by enduring love. For
months they searched for such a
site, and when they found what
they thought the most beautiful
spot in one of the most beautiful
parts of the whole world they
held each other tightly and cried with joy.
But the cement crumbled and the home toppled
down about them.
WHAT, then, was the insidious and eroding influ-
ence which barred windows, iron gates, armed
guards, precipitous mountain sides and what seemed
like perfect love, could not resist?
We hope that they will be reunited, just as we have
hoped for the safety of the Lindbergh baby.
Day after day I have sat at luncheon at the Embassy
Club and watched Ann and Harry together at a table;
always the same table, always alone and utterly
absorbed in each other. Many and many a time I have
seen other Hollywood celebrities look at them in frank
envy of their happiness. Many times I have noticed
friends refrain from joining them, so complete unto
themselves did they seem, so happy in sharing ideas
and laughter.
THE statement which Ann gave out to the press
has been printed in hundreds of newspapers
throughout the world, for Ann is a world-known per-
sonality.
Nevertheless, I want to reprint it here because it
is so like Ann in its directness and honesty :
" We, Harry Bannister and Ann Harding Bannister,
are getting a divorce, because during the three years
in the motion picture industry, we have been placed
in a position which is untenable.
"Due to Harry's constant and generous effort to
forward my interests, often at the expense of his own,
he is gradually losing his identity, becoming a back-
ground for my activities, and looked upon as 'Ann
Harding's husband.'
" We have decided that the only way for Harry to
re-establish himself in his profession is to cut the
2 25
dian knot, to set forth on his own quite apart
from me— and win 1 1 i *- way back to the standing he
enjoyed in the theater before this unfortunate situa-
tion in pictures lias a chance to reach us and destroy
the love and respecl we have for each other.
"We have found courage to preserve the tiling we
have in the way that seems best to us."
BANNISTER also gave out a statement, supple-
menting his wife's:
"During the five and one-half years I have been
married to Ann Harding I have had the love and
respect and devotion of the very great and lovely
person who is my wife.
"Therefore, in order to preserve this in its entirety,
we find the apparently drastic course of divorce the
quickest and best solution to our eventual complete
happiness.
"There is nothing further that I can add to Mrs.
Bannister's statement."
LET us examine these carefully, keeping in mind
a statement Ann once made to Louella Parsons,
who knows them both intimately:
"When we were married at the Little Church
Around the Corner we agreed to stay married as long
as we both loved each other. It seems funny that
neither of us emphasized the permanency of our mar-
riage. We both agreed to take our happiness while it
lasted."
SOMETHING has changed these charming folks.
That is certain. If there was another man or
woman in the case it might still be a victory for love.
But, that is not the case. Love has been vanquished
by Hollywood. Ann and Harry admit defeat.
Ann's statement says definitely that their devotion
to each other was not great enough to withstand the
onslaughts of the problem of career. In all fairness
it must be said that no one who has not been subjected
to the difficulties of maintaining a happy marriage
relationship in that atmosphere of ambition, deep-
rooted devotion to artistic work and the constant
exercise of artificial emotions, can understand life in
Hollywood.
These folks live in the Minding glare of the spotlight
of publicity, a sorry substitute for the modest moon
which lovers Still invoke as the symbol of constancy.
I have always felt thai most folks Go Hollywood
just as they Go Native in the South Seas. The very
air is niiasniic with ego and self -importance. It is the
capital of egomania, and it takes supermen and super-
women to withstand it.
OX another page in this magazine is the story of
the self-sacrificing love of Barbara Stanwyck
for Frank Fay.
26 2
Barbara chucked her picture career right over-
board when Hollywood declined to accept Frank as
her professional equal.
A FEW months ago we told the story of Edna
Best, a beautiful and talented stage actress who
ran out OH an assured career in pictures because she
could not live away from Herbert Marshall, her hand-
some and equally talented actor husband. Today
they are together in a stage show, "There's Always
Juliet," and New York folks go to that show as
much to observe their devotion to one another as to
enjoy the play.
It seems that when talented men and women want
to preserve love, they must flee Hollywood.
WITHIN the past week I have talked to two
women who have withstood the Hollywood
acid test, Mary Pickford and Doris Kenyon.
Mary and Douglas have come through it. In spite
of the rocks, charted and uncharted, that have wrecked
so many marriages, they have cleverly and together
avoided them.
The marriage of Doris and the late Milton Sills
ended only with his untimely death a year ago, and
Doris has found in work and study, and the philosophy
she learned from his great mind, a measure of surcease
from the blow of his passing.
THE University of Chicago Press — Milton was a
graduate of the University — has just issued a book
of his philosophy.
It is called "Values," and it contains a remarkable
and beautiful poem which he wrote and dedicated
"To My Beloved Doris":
"Death cannot end all things, if love denied
Must find fulfillment, as indeed it must,
Though you and I descend into the dust,
And in the earth commingle side by side,
Yet shall our frustrate ghosts triumphant ride
To some far heaven where our loved trust
Anoint the bridegroom and the bride.
Then, hushed and dreamlike, shall our footsteps
wind
Through fields of deathless asphodel where blows
No sharp wind of despair, and we shall find
Each other's hands again; and all our woes
Shall be forgot, our spirits sky enshrined.
While heart with crumbled heart climbs in the
rose. "
AND when we are ranting at Hollywood,
not forget the beautv and the jov it has br
let us
ty andtlie joy it has brought
us. and that Milton Sills, a motion picture actor,
wrote that poem there.
Photographed fur Photoplay by Underwood and Underwood
"\ X 7"HEN Florenz Ziegfeld, America's high priest of beauty glorifi-
» » cation, went seeking pulchritude and charm for his new revue,
he raided the Hollywood studios. And if his new show, "Hot-Cha,"
with its glamorous and eycsmashing Mexican backgrounds by
Joseph Urban, isn't a tremendous hit, it will not be the fault of Lupe
Velez, Buddy Rogers and June Knight, Jimmie Dunn's real girl friend
27
How
ovie
M
Jjabi
es
A
re
(jruarded
TWO men who conspired to kidnap one of our most
famous stars a few years ago, went to the California
penitentiary for fifty years each, and they never had a
chance to get near their prey.
It'll be just too bad for any kidnappers who try to repeat the
Lindbergh outrage with any of Hollywood's movie babies!
Because Hollywood's star parents are ready for 'em. Those
Hollywood cinema celebrities who are parents, cautious enough
even under ordinary conditions to protect their babit s. have re-
doubled their precautions since the Lindbergh kidnap] ing.
And so today, they're all ready for 'em — all set and ready
with amazing protective arrangements and enough hot lead to
make tine, satisfactory corpses out of any would-be baby-
stealers, amateur or professional! The man who guarded Lord.
Kitchener and the King of Belgium during the World War
is ready — even anxious!— to drill a few bullet-holes in any-
bodv who'd try to steal Marlene Dietrich's baby.
On Tom Mix's twenty-acre
estate, two armed cowboys,
old pals of Tom, patrol the
grounds day and night.
They're real cowboys, not the
movie kind. And they have
their own idea of what they'd
like to do to varmints that'd
come around a-tryin' to kid-
nap Tomasina Mix!
This is Harry Wright, former
personal guard of Lord Kit-
chener and of King Albert of
Belgium, who guards Mar-
lene Dietrich's baby day and
night. He's one of the world's
champion pistol shots and can
whip his weight in wildcats
...
This exclusive air view of the Ann Harding house shows more graphically than any words
how nature guards Ann Harding's baby. There is a private road, and that is barred by a
gate at which a guard must identify all who would enter. Save by this road, the only
approach is by steep hillsides, which can be flooded with light at night, even if one could
climb them. As the photo shows, the wall-like construction of the house's environs, too,
makes approach for sinister purposes almost impossible. All's as safe as a baron's castle
Ann Harding's hilltop castle is like a medieval feudal fort —
protected by walls, gates, guards whom no one (not even mem-
bers of the family!) may pass without a check and double-check
okay.
And what's true of those movie-parents is true of almost all
others. From the biggest electric-lighted names down to the
less important players who have babies, all Hollywood is up in
arms — both figuratively and literally — against kidnap at-
tempters since the papers blazoned the news of what happened
to little Lindy, Junior.
By the money-twisted, conscienceless reasoning of such as
turn to kidnapping for loot, movie stars' children would be fair
game. Who hasn't heard of the fabulous incomes of cinema-
famous actors and actresses, and even the child-actors them-
selves? Kidnappers would quickly figure that parents with
such incomes would and could pay a big ransom to get their
children back.
This story is both a narration of some of the precautions that
protect movie-tots, and a fair warning to would-be baby-stealers
that they might just as well take a flying jump off the Empire
By
Carl
Vonnell
State Building as try to kidnap
one of cinemaland's youngsters.
Probably one of the most
complete systems of child-pro-
tection in all colorful movieland
is that which safeguards nine-
year-old Tomasina Mix,
daughter of Tom.
The g;rl lives, when Tom is
in Hollywood, in the Mix man-
sion, in the center of a walled-
in estate back in one of the
Beverly Hills canyons. There
are only two ways of getting
onto the twenty-acre property;
one is via either of the two
huge gates; the other is over
the high wall that completely
encloses the property. "That,"
you might say, "would be a
cinch!" So? — well, first of all,
consider these facts:
"DOTH gates are guarded by
watchmen, stationed perma-
nently. Both gates and the
house itself are interconnected
with an electric alarm system.
"When either gate is opened, the
alarm flashes the warning to
the watchman at the other
gate, and also to the personnel
of servants inside the house.
Furthermore, there are other
secret alarm systems we won't
talk about. By the time any-
one even got on the Mix estate,
everybody'd know about it.
And that "everybody" in-
cludes those two cowboys who were mentioned before. They're
no drug-store cowboys; they're old-fashioned gun-totin', hell-
for-leather cowboys of the old school — the kind that Mix por-
trays in movie roles. Each of them carries two guns, con-
stantly. They know how to use them. And in these effete days
of chocolate malted milk and false eyelashes, those two old-
timer Westerners would like nothing better than to unlimber
those gats and let a kidnapper have an anatomy full of lead.
Or they might string 'em up; Tom has plenty of lariat-rope
around the place.
The room in the Mix mansion which is Tomasina's own, by
the way, is protected with heavy Spanish iron grilling at the
windows. There's no flimsy, unhooked window-screen such as
failed to bar the Lindy kidnappers. And the two guards who
patrol the Mix property by night, follow Mix's careful instruc-
tions to maintain a particular watch over the windows of
Tomasina's room.
And that for Tomasina Mix. Any of you kidnappers want to
try it? No? Well, how about Marlene Dietrich's little girl —
little seven-year -old Maria? [ please turn to page 116 ]
29
Hollywood's
By Sara
Hamilton
H
'E'S GOT a lower lip like Chev-
alier. One medium good eye,
slightly blue. Twelve hairs on
the top'of his head. All violently
curlv. A nose like a rootin' wart hog. And
he's the big sheik daddy of Hollywood.
They're crazy about him, these ladies of
Hollywood. Why, Jimmy Durante is the
biggest sensation since Valentino. Bigger
even, for you see Rudy didn't have Jimmy's
nose. He's a panic. That's what he is. A down-
right panic. One of these Eyetalian lovers.
That's "Schnozzle."
The fans can have their Gables and their
Chevaliers. Hollywood has taken itself a boy
friend.
What do they do, these Hollywood beauties ?
Why, they ups and gives parties for him. In
the Embassy. The very day he's worn the
same "shoit" for three days. And do they care
about the "shoit"? Huh! They ups to him,
anyhow. And what do they do at this Em-
bassy thing ? Here he is, mind you, one man
and twelve lovely women and they, every one,
bring him gifts.
Gigolo Durante.
But I ask you, do they ever come bearing
gifts and glad tidings to Gable ? Xaw, you know
they don't. Or Montgomery either. But Jimmy.
Well, and here's the "woist" of it. They bring
him everything, see, in one color. Handker-
chiefs, socks, ties, all one color. A gorgeous,
luscious shade of pansy.
I low mortifvin'.
" It's the Fvetalian lure," Jimmy explains. "Haaaaaaaaah."
But the comic part is, Jimmy never knows who anybody is.
He couldn't remember his own grandmother. He wouldn't know
Marv Pickford if she walked right up and said, " Good afternoon,
Mr. Durante." He wouldn't know Garbo from Polly Moran.
But he greets everyone like a thirsty buffalo that's just found a
waterhole. "Hi, there." And all the time they're tickled to
death at Jimmy's enthusiasm, he's whispering out of the side of
his mouth, "Quick who is that ? Slip it to me."
Several weeks after he arrived in Hollywood a man stopped
him on the M-O-M lot and said, "Listen, Jimmy, how come you
never come up to my othce to see me ? You've been to all the
other offices and, after all, I knew you rirst. Besides, I'm the
fellow that hands out the checks and I should think you'd come
to see me first."
"Oh, dat's all right, pal." Jimmy said with a hearty slap on
the back. "I'll be up one of dese days when I need some dough,
eh? I'll be seeing you den," and with another wallop on the
back, Jimmy strolled away.
That night he attended a large party at the home of Louis B.
Mayer, one of the heads of M-O-M Studios, and over by the door
he noticed the same man all dressed up in evening clothes, bowing
and shaking hands with all the notables.
30
Sweet reticence is part
of the irresistible charm
of Jimmy "Schnozzle"
Durante. Here he is
with Polly Moran in
''The Passionate
Plumber." Go away,
Polly, you vampire.
Leave him be. sweet
and untarnished by your
wicked Hollywood wiles
"Cheeze," Jimmy said to a friend. "Look,
there's de bookkeeper we seen this afternoon.
For a bookkeeper he mus' be some guy to be
asked to a party like dis."
"Where's a bookkeeper?" the friend asked.
"Over by the door. The guy wit de glasses," Jimmy said.
The friend looked wild. "My gosh, Jimmy," he whispered,
"that ain't no bookkeeper. That's your host. That's Louie B.
Mayer."
How mortifvin".
Friends that know of Jimmy's complete lack of memory will
bring up perfect strangers.
"Jimmy, here's an old friend you'll remember for sure."
"Oh, sure," Jimmy enthuses, "I remember him. Now don't
tell me the name. I got it now. Don't tell me. Don't tell me."
And do they laugh.
Why, one time in Xew York he actually parked his new car on
a side street and for two days he tried to remember what had
become of it.
And is he a stickler on clothes, this Durante guy ? Say. Jimmy
don't care any more for clothes than Gandhi. They cover him,
so what ? Day after day, he'll grab the same thing he took off
the night before, until his wife or friends will say, "For heavens
sake, Jimmy, haven't you had on that suit long enough ? And
how about another shirt ?"
Imagine Ivan Lebedeff's disgust.
And jewelry. He's had more watches with the name Jimmy
"It's my Eyetalian
lure," says the new
Latin bonfire from
the lower East Side
Durante engraved on or worked out in jewels, and rings and
whatnots, handed out to him than any other two men. And he
gives it all away. Usually to his brother who is a policeman on
the New York force. For himself he carries a three dollar watch
he's had for years. That seldom, if ever, runs.
He'd just as leave wear a pair of light brown shoes with a
tuxedo as not. And usually removes his tuxedo to reveal a dress
shirt with the sleeves cut off above the elbow.
One night Jimmy was asked to the home of Mr. Chrysler, the
millionaire, to do a little "So I Ups to Him" for the guests. And
here he was at the last minute without a dress shirt. So Jimmy
stopped at the laundry on the way out and picks up a clean dress
shirt. And changing it in the taxi what do you think happens ?
He ups and tears the button hole. Imagine. So Jimmy takes out
his knife and stabs a hole at random. It lands somewhere around
the side of his neckband so that when Jimmy puts on his collar,
the bow tie hits him somewhere under the left ear. And his shirt
studs were somewhere in the vicinity of his right bosom. And was
Jimmy bothered ? Why say, he just kept yanking the tie over
and singing " Ups to Him " and yanking and " Upsing" and yank-
ing until it was a riot. And, as usual, all the ladies of the social
elite thought Jimmy just too fascinating for words. And him
with a tie under his ear. So you see how it is. There's no ex-
plaining it. They all go for him.
Right from the lower (you can't get really lower) East Side of
New York comes Jimmy Durante. An Italian with a mad,
hysterical sense of humor and an ear for music. Playing the
L
over
The picture stars, to a
girl, have a crush on the
new cotillion leader of
the Cinema Smart Set
piano in cheap little cafes. Liked by every-
one. Bums and all. The same glad hand
for a Bowery waiter as he hands out to
shining celebrities.
"Jimmy, why gee, he hasn't changed
none," his friends tell you.
Somewhere on his way up he picked up
Lou Clayton and Eddie Jackson. The three
went on to vaudeville where Jimmy's famous
"I Ups to Him" (written while Jimmy was in
the hospital) was introduced. Then on to their
own night club. And boy what a club. They
clubbed the orchestra, [please turn to page 128]
31
D i s c b v e r Yo urse lf\
.through the Movies
AAjIX jLJ L li/(5' By Louis E. Bisch, M. D., Ph. D.
ILLUSTRATED BY
VAN ARSDALE
LAST fall a young girl of twenty-three was spending the
week-end with us at my home in one of the more remote
suburbs of New York City. At night a movie was sug-
gested.
"But what are they playing?" inquired our finnicky guest.
And right here I had better add that this knowing person hailed
from the big city, did society with a vengeance, was the sort
who poked fun at love and marriage and, in general, prided her-
self upon her sophistication.
It happened that the local theater, and the only one con-
veniently near, was showing ''The Sin of Madelon Claude t."'
" Not for me!'1 our metropolitan friend cried. " From all I
hear there's too much sob stuff.''
Nevertheless, to make a long story short, my wife and
she finally did attend that picture after all, and the re-
actions which the young girl experienced and what she-
said upon her return got me to thinking. In fact, it
eventually led me to the writing of this article.
For the strange part of it was that, despite her dis-
taste for the theme in the beginning and her firm
conviction she was going to be bored, this
worldly wise young person had been thrilled.
Indeed, "The Sin of Madelon Claudet" roused
f— — into being and fanned into life an emotional
!____ o flame which she never before realized she had !
These were her exact words:
" Don't tell me that deep down I want to be
a mother after all!"
Through a motion picture. Miss K
learned something about herself of which
she had been ignorant. What is m<
can assure you that millions of others
have had similar experiences.
T WAS suspicious, of course, that the case of
-^ our guest might be an exceptional one.
But no! Upon investigating the matter and
talking with persons of both sexes, the more
mature as well as the young, I was astonished
to find not only how often people had learned
some new fact about their deeper, inner s<
but also how frequently such a discovery
changed the course of their lives.
One woman admitted that " Skippy" turned
her from a business career to settlement work
among poor children. Till "hen, she claimed,
children had never "touched her heart."
Another said that she was about to ask her
lawyer to start divorce proceedings when
happened to spend an afternoon seeing " Hus-
band's Holiday." This film con-
vinced her, however, that her love
for her husband was big enough to
At the movies, the big fellow overlook a casual "affair." As she,
sees himself as the conquer- herself, put it : "As Yivienne ( )sborne
ing caveman. The little fel- j j fa T dua„v b to
low sees himself as a David r - . ' . ~b . . -. °
slaying Goliath. The girl see things in a different light. It enj
secretly glories in the battle abled me to get a perspective on
for which she is the prize myself. I knew then and there th :.t
What kind of
person are you?
You don't know.
Play this fascina-
ting and stimu-
lating game and
be your own
mental detective
I was really punishing both of us."
Another asserted — this time a man
— that had he not seen "The Front
Page" and "Five Star Final" he never
would have registered as a student ;
the Columbia University School of Joi -
nalism. The excitement of it "got him,"
so to speak, and he realized how he could
combine his literary hankerings with a fas-
cinating out-of-doors job.
Lastly, Miss K herself! Well, perhaps now
you won't be surprised if I tell you she's en-
gaged to a real he-man who already is begin-
ning to assert his dominance. "You bet," she
emphatically replied when I brought up the
question, " I surely do want babies." Then, after
a pause, she added, "Where would I be now if
Madelon hadn't sinned?"
The truth of the matter is that few really know
what is going on inside of them, in those deeper
reaches of their emotional lives, in the place psychol-
ogists call the unconscious mind. Instincts, repressed
wishes, thwarted desires, all lie buried there. And
often, were it not for some strong stimulus such as that we get
from a well-plotted, well-directed, well-acted and well-photo-
graphed motion picture, such emotional values, despite their
importance for us as regards our well being and happiness,
simply stay buried for the rest of our days.
YOU are probably familiar — at least more or less so — with that
modern system of psychology called psychoanalysis. What
this seeks to accomplish is to probe that other part of ourselves
— our unconscious selves of which we are only vaguely, if at all,
aware — and bring to light, technically into conscious recogni-
tion, the very truths which the persons I have mentioned hit
upon so accidentally. In other words, exactly what a pains-
taking psychoanalysis would have done for them, certain
movies accomplished, and much more expeditiously, even while
they were being entertained.
These truths which we do not know about ourselves need not
be, of course, emotional ones. Not the least of the benefits to
be derived from regular attendance at the silver screen is the
strong tendency we all experience to ask ourselves how we
The motion picture is vicari-
ous adventure, love, emotion.
We live, for the time being,
the story on the screen. BUT
—IN WHAT CHARACTERS
DO YOU SEE YOURSELF?
would behave if we happened to be one of the central characters
portrayed and were confronted with a situation similar to that
shown in the story.
This, you see, makes us think in spite of ourselves. And it
makes us think in a very special way. It forces us to search our
own souls, which exercise besides being the finest kind of per-
sonal stock-taking imaginable, at one and the same time leads
us to discoveries about our character make-up which we never
so much as suspected before.
I am reminded here of a man who left the theater at the con-
clusion of the film "Delicious" and immediately went to a tele-
graph office and cabled fifty dollars to his mother in Poland.
Not that this picture of an [ please turn to page 127]
33
A ROUND the Hollywoods they call this
the happy lot. M-G-M has as peppy a
bunch of youngsters — including Marie Dress-
ier— as you "11 find among the microphones and
the incandescents.
Happy? Why shouldn't they be? There's
Bob Montgomery. The director has just told
him that he doesn't need to lift another eye-
brow for the camera and can take a little rest,
like swatting a tennis ball around.
And Marie Dressier is delighted because she
can honestly deny those rumors about her
''serious illness." Wasn't serious at all — just
too popular and went to too many parties.
Si
Whereas Jack Gilbert — zowie! Take a
look at Jack. He's the old fighting kid
again. Boss Irving Thalberg has just
given his okay on a story Jack wrote
all by himself and in which he'll have the
star part. Right now it's called "Down-
stairs," but Jack's way up in the clouds.
Anita Page is glad she's got a big role
in "Night Court." Joan Crawford is
thankful "Grand Hotel" is finished and is
a great picture. While Clark Gable —
well, the sensation of the decade knows
he's the luckiest lad in town.
At the left Madge Evans, who has sev-
eral blessings to count, takes a snapshot of
these graduates of the Pollyanna School.
Garbo, Marion Davies and Norma
Shearer were not working, the day
Photoplay's photographer got by the
studio gates — otherwise they would cer-
tainly have joined the happy parade.
35
v>< a 1 lorl
HERE'S a grand story from the "Grand
Hotel" set. Lionel Barrymore had an
unusually long, hard scene. And he went
through it in great style. He argued and shook
with rage, he stormed and ranted. He gave it
the good old Barrymore works. At the conclu-
sion, he sat down exhausted.
''Very, very good," the director said. "Now
we'll do it again."
"What!" snapped Lionel. "Go through it
again? Wasn't 1 all right?"
"You were perfect," the director assured
him. ''You couldn't have done better. But
pick up your mustache off the floor now and
do it over."
Metropolitan
Smart young deb introduces new
vogue. "Bonnets are very good this
year," Mary Esther Webb told re-
porters as she arrived in New York.
She brought mama Esther Ralston,
who will appear in vaudeville, with her
TT'S funny about those nice, regular boys who
suddenly find themselves over-night hits.
Consider Jimmie Dunn, for a minute, who was
almost starving and not doing it very grace-
fully when he took the test for "Bad Girl."
Now he wants S100,0()0 a year!
His first salary, under the contract, was
S400 a week. Winnie Shcehan gave him Si, (XX)
worth of clothes after the "Bad Girl" success.
Then Dunn went into vaudeville at S3,000 a
week and took all the money for himself, but
while he was playing the road he hired a
lawyer and a new agent in Hollywood and
sent them to Fox to say that if he didn't get
lots more money than S400 a week he wouldn't
come back.
Now the funny part is that Fox declares if
Jimmie had talked the situation over with his
bosses in a reasonable way they would have
come to amicable arrangements.
Wide World
Ivan Lebedeff isn't the only monocle
wearer in Hollywood now. A girl has
stolen his stuff. Very British Heather
Thatcher, one of Bob Montgomery's
leading women, actually strolls the
boulevard with that thing in her eye
Apparently the money he made in vaudeville
gave him big ideas, so now film companies are
going to include in all long-term contracts a
clause that if a player accepts vaude\ille
engagements he will get his salary, and above
that only a percentage of the vaudeville receipts.
"JSTOW you just wouldn't feel natural unless
I told you something about Garbo's con-
tract, would you? Old Cal never wants to
disappoint his little readers. So after putting
on eight pairs of false whiskers and hiring the
best bloodhounds (left abandoned by an old
Joan Bennett and Gene Markey look pretty calm considering the fact that
their wedding was the most exciting of the Hollywood month and that
they are just about to take off for their honeymoon. Like sister Connie's,
the ceremony was a simple one, with Joan wearing a dress of white rough
crepe and only very, very select guests were invited — among them Marion
Davies, Norma Shearer and Irving, and Joan Crawford and young Doug
4
jJk*
Clarence Sinclair Bull
What! A blonde actually gone bru-
nette? Look again. That's a rubber
bathing cap Mary Carlyle wears over
her fair locks. You can amaze your
friends by swimming all day and still
look as if every hair were in place
road show of "Uncle Tom's Cabin") — here's
everything I know. Nothing!
Well, I'll take that back. Garbo hasn't
signed as I write this and just lots and lots of
people say she won't. One of Those Close to
Garbo declares that she's going to retire at
the height of her career, so she will always be
remembered as the Great Garbo.
She has already made a fortune. Another
awaits her if she signs. I'm betting that Garbo,
like the tent-making philosopher, will take the
cash and let the credit go. But maybe that's
just because I'm an incurable optimist. And
1 he IVlonthly .Broadcast
of
Hollywood
Goings-On/
because the thought of all those years stretch-
ing ahead without Garbo slithering across a
screen is almost more than I can bear.
/""1.ARBO and a friend put in an
^-"appearance at the Mary Wigman
dance recital in Los Angeles.
A young couple sitting near chewed
gum so enthusiastically that finally
Greta could endure it no longer and
leaning over said, "Listen, I give you
ten dollars each if you go home."
The young couple readily agreed,
pocketed the money and lit out. While
Garbo leaned back and enjoyed the
concert in peace and quiet.
""THE minute Jean Hersholt steps on Garbo's
set, Garbo is off to greet him with a hand
clasp and have a long chat in her native
Wide World
No, this lovely lady is not a new British film star but she has a right
to fame, even if she isn't photographed very much. Folks, step up and
shake hands with Mrs. Clive Brook, who doesn't mind at all when her
husband makes love to Marlene Dietrich. Why should she? For the
better Clive makes love in films, the more dollars in his pockets and the
more fur coats for Mrs. Clive. Both just returning from jolly old England
tongue. But just what Greta and Jean (who
is a Dane) find to talk about so animatedly will
always be unknown. Jean isn't telling.
Recently a woman on the M-G-M lot rushed
up to Mr. Hersholt, as he emerged from the
"Grand Hotel" set, and gasped, "Oh, Mr.
Hersholt, may I shake the hand that has
touched Garbo's hand?"
f^\NE of the magazines said that Greta
^^^Garbo had cut off her hair for the last
scenes in "Mata Hari. " But don't get ex-
cited, 'taint so. Greta simply combed her
hair back from her forehead and off her ears
and caught it in a tight small knot at the back.
Look quick! Doug's acting again in a
real story. He's given up travelogues
and is in the South Seas dashing off a
film in which he plays a modern
Robinson Crusoe. Fairbanks, old
sport, we're waiting for your show!
Sad Youth, Happy Old Age, Romance, Tragedy.
Here's poor little Robert Coogan who has to go to
school like any other kid. He's a picture actor, earns a
big salary, but he's got to take readin', 'ritin' and
'rithmetic just the same. And gosh! — how he hates it,
just as all kids do. Besides that he must learn his lines
for his next picture. It's awful to have to study. But —
Augustine Lopez, ninety years old, is thrilled to be
given the chance to learn her lines. Nothing is too
hard for her if it means a few days' work. She is happy
only when she's in a picture. This Mexican actress has
just been assigned a small part in Tallulah Bank-
head's new film, "Thunder Below." Watch for her
T KNOW a lot of people who aren't satisfied
with Claudette Colbert's answer whenever
she is questioned about her marriage. "It just
isn't natural." somebody said, "that two young
people could be as much in love as Claudette
says that she and Norman are and live apart
more than half the time."
Yet every time Claudette mentions her mar-
riage -he scoffs at rumors of a separation and
says she and Norman are ideally suited.
They were apart, you know, for months
when Claudette was working in Xew York, and
Norman in Hollywood, and no w that Claudette
is working in Hollywood you'd think they'd
he just that thrilled over being together, but
Norman has the wanderlust again and wants
to -trike out for China.
■THE truth is that Claudette adores her hus-
band and everybody who knows her
realizes it. Norman lines Claudette, too, hut
both of them are intensely nervous, high
strung people. There are often words — and
pretty high words — between them, when they
are together. Yet Claudette says she could
.,',9
never love another man as she loves Xorman.
A friend of theirs summed the whole situa-
tion up rather neatly by saying, "She's crazy
about him; he's crazy about her. That's the
trouble — they're just two crazy kids."
JOAX CRAWFORD is a lucky girl. She woke
' up before it was too late. For years Joan has
been on one of those foolish diets — the kind
that Sylvia doesn't recommend. Joan has
lived on rabbit rations, nibbling on lettuce and
more lettuce, with occasionally a fine dish of
rhubarb as an extra special treat.
Xow she has discovered that she was all
wrong and is really eating sensibly — not over-
eating, mind you, but getting enough good,
nourishing food. When you think how*
many deaths in the film colony have been
caused by foolish diet, you can realize how-
grand it is that Joan changed her ways in
time.
Any girl or woman who puts herself on
starvation rations, hoping thereby to get thin,
defeats her own purpose. And if you don't
believe it ask Aunt Sylvia. Sylvia gives her
girls plenty of nourishing food. That's why
they don't have that gaunt, hungry look while
they're reducing.
pERHAPS Janet Gaynor and Lydell Peck
had some idea of going ritzy in Europe
when they cabled real estate men to find
them a Beverly Hills house. But when they
got home, they discovered they were "ju~t
folks" after all, so they have taken Director
George Hill's place at the beach, just a few
blocks from their former home.
The rented house is furnished. Janet has
never bought any furniture. She puts her
money in bonds. The house is only five rooms
and there's nothing fancy about it.
Janet almost never entertains. She hates the
role of hostess and only a few intimate friends
are ever invited for dinner.
OEVERAL years ago Boris Karloff, whom you
•^now know as the monster of "Frankenstein"
was driving a truck for a living. One after-
noon a man asked him for a lift and as he
climbed up on the seat beside him Karloff
Success And Failure, Marriage And Divorce
Keystone
Acme
"My troubles are all over," said Mary Nolan, when
this happy picture was taken of her and her young
husband, Wally Macrery. How beautiful Mary is here,
how earnest and eager he looks. Certainly Mary had
had enough trouble. She deserved happiness. But
they went to Hollywood, opened a dress shop. And—
Here they are just after the judge said, "Thirty days!"
Mary, completely bewildered, cried, "You'll see me
dead, never in jail!" But Wally was resigned to meet
the jinx that has always followed Mary. The dress
shop failed and the employees couldn't be paid.
That's why the sentence, which was finally suspended
recognized Lon Chaney. Mrs. Chaney had
taken the car so Lon said he'd pick up a ride.
Karloff explained that he, himself, was an
actor, down on his luck. The unknown told
the greatest make-up artist of them all his
story. Chaney listened attentively and said,
at last, "If you're going to act — you're going
to act. Even if you have to starve — never
give up. It's the only way."
■"THAT chance meeting turned the tide in
Karloff's career and when those old black
clouds loomed upon his horizon he repeated
to himself, "Chaney told me never to give up
■ — never to give up."
Ten years later, Karloff is acclaimed as
Chaney's successor.
But Boris insists, "There will only be one
Chaney, because he understood so well the
souls of afflicted people. On that fateful
afternoon he told me how he had suffered be-
cause his mother and father were deaf mutes
and that the fear always haunted him that his
children and grandchildren would be so
afflicted. None of us can do what Chaney
did, because none of us feel it just as he did.
I realized it that afternoon on the truck. I
know it now."
A ND here's the height of non-
■^^chalance.
Miriam Hopkins was chatting with
a friend. She looked at her watch.
"Oh, I must run. I'm to meet my
husband. He's bringing his girl friend
to see me and I wouldn't be late.
He's such a sweet person."
"When are you going to get your
divorce?"
"Just as soon as I get the time.
I just haven't gotten around to it."
•"THAT inveterate curtain speaker, Richard
Bennett, is trying not to do so much speak-
ing in Hollywood. Connie gets pretty doggone
mad at some of the things Richard tells the
press.
Dick counters with "that wasn't what I
said at all — I was misquoted."
Here's a case in point.
Somebody printed that Dick, when asked
about Connie's marriage to the Marquis de la
Falaise, said, "France must live." And Dick
said that what he really said was, "Vive la
France."
'"TO hear Julia Shawell tell it in the New York
Evening Graphic, Norma Talmadge is a
girl who holds her men.
Norma has been doing all the stay-up-late
places with George Jessel.
"There's nothing to that," folks say, but
Julia says that George was in love with Norma
before he married the other girl and Norma
married Joe Schenck.
So what about Gilbert Roland, whom Norma
said was her true love?
Norma says the romance between her and
Gilbert has ended. Gilbert says he will
always adore her.
And Norma doesn't look any too happy.
Once she said:
"All women should have families. I should
have had a son."
[ PLEASE TURN TO PACE 96 ]
39
D
own
ToT
wo
c
ents:
f
Gibson's
on the u
ABOUT a year ago I heard there
was a new, pert, wisecracking
girl over on the Paramount lot.
"Go .in.) see Wynne Gibson!"
people said. "A laugh a minute, that
one! You'll die! "
Long before she came to screen promi-
nence, Wynne Gibson had the Para-
mount studio in stitches. She had come
in quietly, minus fanfare of publicity
bugles, and soon had everyone in the
place hanging about her modest dress-
ing-room, hungry for laughs. Stenog-
raphers, electricians, hairdressers and
the other troupers used Wynne as an
unfailing tonic for those Hollywood
blues.
"She's a panic, that Wynne!" my
friends told me. "A howl! Never a dull
minute! "
I had a line on these smart-crackers of
the studios. I was sure that behind the
screams of mirth were stories far from
gay— that the peaks of merriment hid
valleys of past despair. I remembered
that Willie Haines' first Holly wood nifty
was born of desperation, and that he had
labored hard to build up a reputation as
a supreme clown to help him forget the
dark spots of his pre-picture past.
And so I went over to Paramount to
see Wynne Gibson, with whom fame and a measure of fortune
had finally caught up. I wanted to meet the rising star — and I
also meant to find out if the storms of mirth came from her
inmost heart or from regions less sacred and nearer the surface.
I found out.
Her dressing-room was
crowded with gay admirers.
In one luncheon hour I met
nearly all the big-wigs on the
lot, and every last one of the
studio proletariat. They
dropped in to say hello — they
left laughing. Wynne dis-
appointed no one. She dealt
laughs from her amazing
repertoire as a card shark
riffles aces from the bottom
of the deck.
T WAS hard-boiled. I bit
-L my lip and played straight
as the gayety rippled on. And
I caught odd moments —
seconds when her laughter
came only from behind her
eyes -when only her lips were
smiling. I guessed that my
theory was right — that I had
found another wise-cracker
with a storv she would never
tell.
And how hard she tried not
to tell it!
She showered me with a
sparkling cascade of her best
lines. She shot off a tremen-
dous barrage of sure-fire
jokes. I appreciated them
all, but decline to use them
for a story about Wynne
Gibson.
Then she abruptly switched
Broke before the
depression, Wynne
stock is
p and up
By Ruth Biery
"In their picture the star only gets slapped-
ours she gets a punch in the nose"
her technique, and launched into a hard-
luck yarn of poverty-stricken days on
Park Avenue — with a month's rent paid
in advance, but with only two cents be-
tween her and starvation. Of how she
had jingled the pennies, and had then
gone to the corner delicatessen and per-
suaded the man to charge a long string
of frankfurters. Of how she had lived
on the wienies for a week.
'Did that happen often?" I asked,
still the skeptic.
"Off and on for ten years," she said.
"But it was good luck. Whenever I got
too hungry a good job turned up. Some of
my best stage parts came when I was
emptiest. The lead in 'The Gingham
Girl' came along when I was down to a
few nickels."
"\TOT good enough!" I thought.
i-N "You never got to be a synthetic
wise-cracker that way, my pretty!"
So I continued my gentle probing —
and I found what I rather expected to
find. It wasn't anything in the life of
Wynne Gibson, actress, that had turned
her into a semi-professional sunshine girl
— jester-in-ordinary to the Paramount
lot. It was one episode in the life of
Wynne Gibson, woman, that had done
the trick — one black chapter of heartbreak that had shattered
her days and nights for months, and had then given her a back-
bone of steel and a strong heart better able to face the future.
So here is the short, sharp story of Wynne Gibson, the
synthetic wisecracker who
built a new, brave life upon
the ruins of the old.
For all the thin periods,
Wynne was successful in
musical comedy. She per-
formed ably in a series of
leading parts in the merry-
merry, with only the usual
waits between.
But she was young, and she
was pretty, and avid for life
— and it takes more than
modest success to fill the life
of a little singing girl.
Nineteen-twenty-siz was a
red letter in the Gibson book
of life. She was enjoying a
successful San Francisco run
in "Castles in the Air." Eric
Yon Stroheim, shooting "The
Wedding March," saw her
and offered her a chance in
the picture. With Fate liter-
ally dumping chances at for-
tune in her lap, she chose
another — a personable,
moneyed young New Yorker
came along.
U nhesitatingly, Wynne
voted for love. Leaving her
show, and not even replying
to Yon's bid, she married the
boy and slipped away for a
European honeymoon.
Then, and then only, did
she feel that her life was filled
[ PLEASE TURN* TO PAGE 124 ]
A LIFE on the ocean wave ! " pipes that old salt, Wynne Gibson, as she
■^ -^- clings desperately to a stout cable ! Winning Wynnie is tastefully togged
for a plunge in the newest blue and white beach'bathing suit and a nice platinum
wrist watch. Let go, Wynne — Papa will catch and we'll go downstairs to the
old ship's parlor for a noggin of grog! Read across the way of Wynne's rise!
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A
nnie
th
e
Moom-Pitcher
H!
St
'ER legs are long and thin
and straight, like a boy's.
Her shoes are much too
"large, her left foot turns
in when she walks, she has a gosh-
awful mop of no-color hair and she
calls herself, "Annie, the Moom-
Pitcher Star."
Ann Harding, believe it or not,
Mr. Ripley, and Mrs. Ripley, too,
for that matter, is the darndest
person you ever heard of. She
looks like a Madonna and has the
grand nonchalance of the kid across the alley. She knows a lot
of big words like "colossal" and "denouement" and such, but she
sums Hollywood and ambition up with a priceless bit of de-
scription:
"Xerts."
She takes her work and her pictures seriously — not Holly-
wood and Ann Harding.
She owns a big house on the highest hill in Hollywood, and
will excuse herself from a formal luncheon table to chase down
steps and assist the grocery boy in turning the turntable for his
truck.
She and Harry Bannister, her husband, employed a butler by
the name of Gus. A square-jawed Swede was Gus who eyed
every visitor with a wicked and unwelcome gleam. So Ann
promptly and appropriately called him 'Gus, the Menace."
The crinkled and wrinkled
old stone mason who worked
on their home and who, ac-
cording to Ann, is an artist
born, called at Ann's house
for the final check due him.
"Stay to dinner," Ann in-
sisted.
"Well, I'd just love to,
miss," he beamed, "but you
see my manners ain't so good.
They ain't, that's a fact."
" Never mind manners,"
Ann grinned. "I loathe com-
pany manners."
So with Ann, a beautiful
and famous picture star, and
Harry, a swell fellow, the little
old stone mason sat down to
dinner.
And Gus boiled over.
After every course Gus had
V V
ar
By Sara Hamilton
Ann Harding (opposite)
the charming and gracious
lady of the screen. Ann
Harding (on the right)
wife, mother and herself.
Don't fail to read this
beautiful and accurate
character study of one of
the most natural and
lovely artists who have
ever decorated the screen
to be called back to serve the
guest also. It was awful.
Ann waited impatiently for the
meal to end. She stamped to the
kitchen.
"You're through," she calmly
told Gus. "I can't tolerate snobs
in my home."
The boys on the set begin get-
ting that twinkly look about the
eyes the minute Ann steps onto a
sound stage. Do they know? In
two minutes' time she'll have a
game going. Spelling words, a letter at a time, and the fellow
who ends a word is out. After each scene, someone, maybe an
electrician high up among wires and rafters will yell " P." Quick
as a flash Ann is ready. "R" she yells. " E " calls a prop boy.
"S" echoes a carpenter and on it goes.
At the end of eachsceneit'scustomaryfor a boy tostep up and
click two sticks as the signal for a cut. Joseph Biro was the boy
on "Prestige." Melvyn Douglas was intent on a scene.
Tension and drama were in the air. The scene reached its
climax and was finished.
Up stepped Joe. A huge mandarin mustache hung down over
his collar. Monocles in both eyes. A grotesque wig was
perched on one ear. The director clutched his head in alarm.
The actors, not daring to move or blink, could hope only for the
best. The scene was cut and Ann was found behind a curtain
in convulsions. She had made
Joe up for the set. And did
she have the laugn! Joe
refused to discard the gorge-
ous make-up and went about
all day cutting scenes dressed
like a Chinese nightmare.
YWTIEN the lights on " Pres-
tige" got too hot, Ann
would imitate the electrician's
sharp whistle and out would
go the lights. The chief elec-
trician would come running.
"Who put out those lights?"
"We did, sir," the helpers
admitted. "You blew the
whistle." And a bewildered
electrician went about look-
ing confused for days. Until
he caught Ann with both
fingers in her mouth, doing
the whistling.
Noted for her lack of mem-
ory, Ann claims it isn't the
appointments she forgets, it's
the days. She can't remem-
ber whether today is Tuesday
or Friday. If she only knew
what day it was, she'd be set.
At dawn, in a pouring,
beating rain, she'll take off in
a plane. Alone with a pilot.
And watch the rain beating
upward on the glass shield.
Thrilled and unafraid.
In Cuba, on a recent trip,
she was anxious to view
[ PLEASE TURX TO PAGE 123 ]
45
A CANDIDATE for the distinction of the luckiest man in
-* *■ the world, Frank Fay. Despite his failure to register in
a big way on the screen, he is rich in the great and self-sac-
rificing love of one of the most charming and most talented
stars who ever appeared on the screen, Barbara Stanwyck
46
The latest and most
startling chapter in
Barbara Stanwyck's
selfless love for
husband Frank Fay
By
Leonard Hall
L
a
dies and \Tents
a
ove;
t
THE million-candle-power love of Barbara Stanwyck for
Frank Fay, her red-head spouse, has riveted the atten-
tion of the movie world for over a year.
Hollywood, where love is a game with few prizes, has
been astounded by it. Sentimental fans have cooed over it —
cynics have looked down their cold noses at an all-embracing
love which would force a brilliant young star to jeopardize her
future for the sake of a comparatively unsuccessful helpmate.
Heedless of all the chatter, pro and con, Barbara's fever-
chart for Frankie has stood steady at 120 in the shade!
If producers didn't want Frank at a dime a day, it seemed
that they couldn't have the luscious Babs, either. If Fay,
rejected by Hollywood, wanted to visit New York, where he
was once billed as "Broadway's Favorite Son," Barbara duti-
fully packed her pretties and trailed along.
Now a new and startling chapter has been written into this
sizzling saga of legalized romance!
If ever a girl has given her all for the not-so-tender passion,
Barbara Stanwyck is that lovelorn lass. She and Fay ought
to go ringing down the years with the great lovers of all time —
Dante and Beatrice, Paul and Virginia.
Here's the new story — being lived as I write. What a little
fiction gem O. Henry could have made of it! But he is some-
where else, spinning yarns
with his pals — and the story
is good enough as fate is
writing it today. Time — ■
today. Place — New York.
Barbara is between pic-
tures. Fay, refusing to ac-
cept Hollywood's thumbs-
down verdict on his picture
value, has written, paid for
and starred in a talkie titled
" Fool's Advice." He is
searching for a market.
AXD now, whether you
like it or not, we are in
Broadway's Palace Theater,
the country's leading vaude-
ville emporium.
Outside, the billboards
say "Barbara Stanwyck —
Frank Fay."
Within, at matinee cur-
tain time, half a house
champs peanut brittle and
awaits the royal pair.
Here comes sorrel-topped
Frankie — superb in brown
coat, ice cream pants,
Byronic collar and brown
suede shoes. He drawls a
greeting — introduces the
next act — and here's Bar-
bara ! She's a vision — never
was she slimmer or lovelier.
Fay introduces her — as
though she needed an intro-
duction!
In a few minutes Mr.
Frank Fay presents Miss
"Hollywood Employment Agency? This is Miss DeLa-
valliere — say, where's that mother I ordered?"
Barbara Stanwyck in "Christmas," a playlet directed by Mr.
Frank Fay and written by — guess! Oh, go on! Right! By
none other than Mr. Frank Fay.
Let us draw a kindly charitable veil over the next ten min-
utes. It is Christmas Eve in a department store, and Babs has
been caught snitching tin soldiers for her 'ittle crippled buvver.
Stanwyck labors on — it is like setting Lionel Barrymore to play
a conventional English butler named Meadows.
AND so the afternoon wears on — paper thin. Fay holds the
stage for half an hour, with the aid of assistant buffoons, but
it is easy to sense that he is not gripping and mowing down his
audience as he did when he was Crowned Prince of Seventh
Avenue, ere the Hollywood gold fields lured him away.
And Barbara? She darts on and darts off — displaying the
rich Hollywood wardrobe at Frankie's laughing behest. The
bill winds up with a Grand Afterpiece in which the gorgeous one
is surrounded by eight clowns, counting Fay, in outlandish
states of undress, red noses and fake moustachios. Alas — it is
as funny as a plane crash.
At five-twenty the curtain mercifully drops and I am left
alone with my dead.
And these sad old eyes have witnessed a sight unique in the
world of entertainment.
I have seen the most
promising young star in pic-
^^^^^^^^ tures and certainly one of
the peachiest girls now in
active practice, deliberately
playing "stooge" — foil —
butt — for a vaudeville
comedian whom she trust-
ingly adores. Helping him
with her name, her talents,
her young beauty.
SHE lent her acting power
to ten tragic minutes
from his pen. She sacrificed
her dignity, for him, to take
part in a lamentable, even
vulgar comedy scene. In
short, Barbara gave her
everything to help Frank,
after a long exile, sock over
his brand of nonchalant
buffoonery!
It was an astonishing
spectacle, and not too
happy. But as I groped my
way out of the theater
through a mist of tears, I
could say with Miss Ethel
Merman, the distinguished
song-shouter, "Ladies and
gentlemen — that's love!"
Now turn the calendar
ahead six days. Drama piles
upon drama — the little
story of Hollywood-Broad-
way transcontinental love
marches to its climax.
[ PLEASE TURN TO PAGE 129 ]
47
Select Your Pictures and You Won't
*
BUT THE FLESH IS WEAK—M-G-M
ANOTHER of those delightfully sophisticated comedies
with amusing situations, corking dialogue, spontaneous
acting and chuckles aplenty. The story deals with a father
and son who are male "lilies of the field." Robert Mont-
gomery surpasses any previous performance as the son who
falls for a beautiful but poor widow. Forced into an engage-
ment with an heiress to cancel his father's gambling debts,
he finds he can't stick to it.
Eleanor Gregor as the young widow, is charming and her
accent will intrigue you. But Heather Thatcher, the only
woman monocle-wearer in Hollywood, will be the lass you'll
remember. Nils Asther makes his first appearance in two
years and is just as fascinating as ever. C. Aubrey Smith
and Edward Everett Horton are excellent.
ti
ARE YOU LISTENING?— M-G-M
IN this bright little picture with a brand-new theme, we
arc given a glimpse of what really goes on behind the
scenes in a broadcasting station.
A new Hill Haines, minus the wisecracks, is grand as a
radio writer married to a nagging wife — and what a nagger
Karen Morley turns out to be — and in love with a radio
charmer, Madge Evans. Accidentally the wife is killed and
Bill and Madge, frightened and confused, flee for safety with
the radio broadcasting their flight at every stop.
The story ends on a tragic but true-to-life note. Anita
Page and Joan Marsh as Madge's sisters are splendid.
The scenes shift in a disturbing manner. Here is good
but not sensational entertainment.
AS
The
Shadow
A Revieiv of the Neiv Pictures
&
SCARFACE— United Artists
AT the end of the gangster vogue in pictures comes
"Scarface," the best gangster film ever made. So
tremendous, so perfect a masterpiece, it remains a picture
that stands alone, and belongs to no era or vogue.
Brutal. Horrible. Fearless. Cold, hard killing for
killing's sake. Such is "Scarface." The story unfolds
without fear or favor. An idea and its development in the
mind of a hoodlum tells the yarn, with scenes as sharp as
the report of the machine guns with which it abounds.
A glimpse at the luxury of his boss' home and the blonde-
ness of his girl, played by Karen Morley, gives Tony the idea
of acquiring plenty for himself. Knee deep through blood
and horror he wades to the attainment of that idea.
Paul Muni, as Scarface, gives one of the finest characteri-
zations the screen has ever seen. George Raft as his body-
guard comes a close second, his dying scene needing no
words, no captions.
On to his death, brought about by his love for his sister,
we travel down the dirty path of gangdom.
Howard Hughes has issued an open challenge to every
man and woman in America. And made a picture that will
linger with us for many days to come.
Have to Complain About the Bad Ones
The Best Pictures of the Month
SCARFACE
BUT THE FLESH IS WEAK
THE MIRACLE MAN
DANCERS IN THE DARK
GRAND HOTE
ARE YOU LISTENING
WET PARAD'
DESTRY RIDES AGAII
The Best Performances of the Month
Paul Muni in "Scarface"
George Raft in "Scarface"
Lionel Barrymore in "Grand Hotel"
Greta Garbo in "Grand Hotel"
Joan Crawford in "Grand Hotel"
John Barrymore in "Grand Hotel"
Wallace Beery in "Grand Hotel"
Robert Montgomery in "But the Flesh Is Weak"
William Haines in "Are You Listening?"
Jack Oakie in "Dancers in the Dark"
Casts of all photoplays reviewed will be found on page 120
ft
GRAND HOTEL— M-G-M
HERE it is, the picture in which you may see Garbo,
Crawford, both the Barrymores and Wally Beery in a
magnificent two hours you'll never forget. With that cast
why wouldn't it be good ? Wait a minute, Vicki Baum's
successful pla> was not fool-proof, and Eddie Goulding de-
serves a cheer for making a smooth running story.
Adjectives fail us when we describe the work of Lionel
Barrymore, the man who really wanted brother John to
have the best part, and yet was compelled to give a vital
performance that will go down in the saga of the cinema.
Hold on, Garbo fans, that doesn't mean Garbo is any less
glamorous. She's great, but the story is not all Garbo.
Joan Crawford gives excellent competition and moves
up along her ladder of successes. John Barrymore is
fascinating every minute. Wallace Beery has a scene, after
he kills the baron, that stacks up along with the greatest.
Lewis Stone and Jean Hersholt — excellent.
You may argue about who deserves the most praise and
not get anywhere, for the picture, as a whole, steals the
show. It is produced on a scale of grandeur that the stage
couldn't touch. If you don't already know the story, tell-
ing it would take the edge off. You can't miss this.
ft
THE MIRACLE MAN— Paramount
THE long awaited talkie version of that great silent
picture which thirteen years ago thrilled audiences.
It was a tough job for director Norman McLeod to follow
that well-remembered film, but he gives an inspired treat-
ment of the old faith healing theme. This version will not
make history, as the original did. It was Lon Chaney's first
big part. Now John Wray plays the role of The Frog who
untwists his crooked legs at a fake healing and is most effec-
tive. Hobart Bosworth is convincing as the patriarch.
Chester Morris is fine as the gang leader (Gary Cooper
would have had the role if he hadn't gone to Africa) but
Sylvia Sidney suffers when compared with Betty Compson
of the original. There's a big cast — including Jackie
Coogan, Irving Pichel, Boris Karloff and others.
ft
WET PARADE— M-G-M
THIS film will throw the whole country into violent
arguments. Prohibition is the theme of the L'pton Sin-
clair novel adapted with such realism and daring that no
angle of the "drink" problem is avoided. The curse of
liquor before prohibition is shown as clearly as are the evils
arising from the Volstead Act. You will even see every de-
tail of the manufacture of "imported" bootleg.
Yet, all told simply, dramatically. Dorothy Jordan, as
the girl, sees Lewis Stone, the father, die of alcoholism
and her brother, Neil Hamilton, inherit the taste. They,
along with Walter Huston, Wally Ford and Jimmy Durante,
give fine performances. You'll probably think the picture
proves your personal opinion — but don't miss it.
49
H
ere s
&
DWCERS
IN THE
DARK—
Paramount
Yo
u r
M
o n t
1 s t
DESTRY
RIDES
AGAI\—
Universal
AS a dime-a-dance girl, in a cheap dance palace, Miriam
Hopkins retains the laurel crown she won for past per-
formances. But Jack Oakie, the orchestra leader who tries
to quash the romance between his pal, Buster Collier, and
Miriam, almost tucks the picture into his megaphone and
Strolls away with it. George Raft, the sleek bad man of the
picture, is a real find.
COME on, kids. There's a rare treat in store for you.
The king of Westerns is back. The same grand Tom Mix
and Tony, with glorious riding and plenty of shootin'. Tom,
double-crossed by the villainous Earle Foxe, goes to prison,
but wait 'til you see what he does when he gets out and then
you'll be glad you came. Claudia Dell is the lovely heroine.
Don't miss this. It's keen.
PLAY
GIRL—
Warners
careless
lady-
Fox
WHEN this picture is over you don't know whether
gambling pays or doesn't pay or if marriage is better
than a career. But what's an unsolved problem or two when
you've been nicely entertained for an hour or so? And when
Loretta Young is so beautiful and appealing and Norman
Foster so handsome? In case that isn't enough, there are some
very, very sprightly smart cracks.
AN ugly duckling decides she must have a past, so goes to
Paris to get one. Sounds familiar? Why certainly, it's
the theme of Connie Bennett's "Lady With a Past," but this
is Joan Bennett's film. Just a little sisterly coincidence. Yet
Kenneth MacKenna's grand direction and Joan's charm make
it a delightful and entertaining film. It has lively dialogue,
good situations and John Boles.
YOUSG
BRIDE—
RKO-Pathe
AFTER
TOMORROW
— Fox
THE old story of a fourllushing Charley Boy who gets wise
to himself in the last reel. However, the occasional snappy
lines and superb acting of Eric Linden lift it above the dull
class. Helen Twelvetrees is appealing as the sweet young
bride and Arlene Judge is perfect as the gold digger. The story
moves evenly, holding the interest. Not exciting, but fair
entertainment.
00
A SWEETLY poignant little love story as natural and as
simple as your next door neighbor. A couple of nice kids
want to get married, but too little money and too much
mother stop them over and over again. You'll like this
picture because it is clean, because it has charm and because
it is sincerely acted by Marian Xixon. Charlie Farrell, Josephine
Hall, Minna Gombell and William Collier, Sr.
The First and Best Talkie Reviews!
IT'S TOUGH
TO BE
FAMOUS—
First National
THE CROWD
ROARS—
Warners
SCOTTY, a national hero, heroed by Doug Fairbanks, Jr.,
catches the public fancy, rides in parades, swallows confetti
and lives in a glass house until his domestic happiness is
threatened. The theme is brand new. Doug, Jr., as the harassed
public idol, gives a breezy and thoroughly believable perform-
ance. Mary Brian, as the wife, is surprising and the whole
picture a grand evening's entertainment.
THIS one takes you out to the race tracks and gives you all
the breathless exciting thrills of auto racing. Your hair
will rise on your head, for it's the best speedway stuff that has
ever been done. But don't expect a story — for it is pretty
threadbare and uninteresting. James Cagney is his hard-
boiled self and slaps women, as usual, which is fine if you
like it. Joan Blondell is great.
SO BIG—
Warners
LAW AND
ORDER—
Universal
IN silents, this story skyrocketed Colleen Moore's reputa-
tion. It won't do so much for Barbara Stanwyck. She gives
a grand individual performance, but somehow the talkie
doesn't score the emotional kick it should. You'll enjoy Dickie
Moore, applaud Alan Hale and Hardie Albright, and see perhaps
for the first time, George Brent, reputed "another Gable."
Maybe. Maybe not.
IT'S a rip-roaring good melodrama — and there's not a
woman in it! Walter Huston gives one of his excellent and
thoroughly convincing characterizations, as does his pard,
Harry Carey. Oh yes, it's a Western and sometimes that's all
it is. Then all of a sudden it seems to be lifted into the real
epic class. Though uneven in construction it's entertaining —
every pistol shot!
THE BROKEN
WING—
Paramount
DEVIL'S
lottery-
Fox
LOVE and adventure below the Rio Grande, where those
things look best. That hot tamale, Lupe Velez, is giving
the runaround to bad man, Leo Carrillo, when Melvyn Douglas,
a hero she really could care for, lands his airplane in her front
yard. From then on it's a snappy triangle, with gun play
threatening and other customary situations. The old hoke,
but so well done you'll probably like it.
CURIOSITY provokes an English publisher to invite win-
ners of Calcutta Sweepstakes to be his guests. Together
under one roof are Elissa Landi, as a woman of questionable
reputation; her crooked lover; an idealistic young American;
Victor McLaglen, a prize-fighter and his cockney mother,
Beryl Mercer. Things happen in a thoroughly amazing and
entertaining manner. [ additional reviews on page 90 ]
51
PHOTOPLAY'S
o I y w o o d
*J-^ll lite cJSeaidy I ricks
all llie stars CyJronylil
to vou each inonlli
Perc and Em Westmore,
Hollywood make-up wiz-
ards and coiffure designers,
say the shape of the head
should determine the head-
dress. Loretta Young is
showing you how to decide
whether you have a high-
brow, lowbrow or norm-
al forehead. The space
from the browline to the
hairline should be the
width of your first three
fingers. If your hairline is
above the first finger, your
brow is high and your
hair should have bangs or
a little downward curl to
conceal some forehead
Lupe Velez' dazzlingly
white teeth are due to a
little idea of her own.
After brushing them with
her usual dentifrice she
gives them a whitening
and polishing treatment by
mixing bicarbonate of soda
to paste consistency with
water and using this for an
extra brushing. It works!
Evening sandals with gossamer hose have done much to bring toes
into the picture. And now Leila Hyams' new beach espadrilles |
place them prominently there. Give your toes the same attentions
you give your fingers (and make them lovely for the beach). Use
manicure scissors for trimming, emery board for smoothing edges
and buffer and cake polish to remove nail ridges. Then apply liquid
polish to harmonize with your fingers. Avoid bright shades unless
your toes dre perfect. For tired feet change your shoes or remove
them and walk barefoot about the house for five minutes. Or lie
flat on your back and place the feet high on the wall for five minutes i
eau
Conducted By
Carolyn
O P VanWyck
Try These
Eyebrow
Tests for
Yourself
Nothing will revive your interest in
yourself like a change of eyebrows.
But be sure of what you are doing. For
a safe home test equip yourself with a
pointed eyebrow pencil and cold
cream, not the liquefying kind. First em-
phasize the inner lines. Then try ex-
tending the outer lines, up, down,
straight. Study the effects carefully. If
none of these changes pleases you,
blot out your normal brows with the
cream and then experiment with new
brows you think you might like. Here
are three excellent studies in Madge
Evans, Anita Page and Joan Marsh.
Madge has a normal and very sympathet-
ic brow. Anita's rise too abruptly at
the inner corners. Joan's brows are a
little too heavy for her fair coloring.
Now go ahead for that new thrill!
Marlene Dietrich is probably the only girl in pictures who
can be charming with bird-wing brows. Romantic, yes, with
Marlene's eyes, but something for the rest of us to avoid
~ W-
Kay Francis' brows are well shaped and just dark and
sweeping enough for her long eyes. Notice that her lid
space is the same at both ends, a departure in brow styles
53
Two Brand-New Coiffure Styles That You Wil See In
Myrna Loy dons a blonde
wig for her role in The
Wet Parade" and thereby
achieves a very modish coif-
fure. If you have the slightest
widow's peak, brush your
hair back to show it. The
broad, soft waves shown
here break the hairline to
frame the face becomingly
at the temples and before
the ears. The whole effect
is softened by tiny face
curls. If your hair is short
an added length or roll will
cover the ends most oblig-
ingly and give a change for
evening. The tip of the ear
lobe should appear
We cannot always see the back of our head
as others see it. But here is a satin smooth
arrangement that is as interesting and easy
to look at as the loveliest front coiffure.
Study your back head view as critically as
your face if you would appear your best
Broad, irregular undulations bring out the
beauty of blonde or richly colored hair far
better than tight waves and the back roll is in
harmony with the sleek effect. The mature
face also will find this a becoming head-
dress if the side curls are eliminated
Two New Pictures Which Wil Reach the Screen Soon
There is much discussion at
the moment as to whether
curled or straight hair is
more youthful. Carole Lom-
bard in "Sinners in the Sun"
shows us just how youthful
and chic unwaved and well
brilliantined hair can ap-
pear. The deep fringe of
bangs softly curved over the
forehead and the upturned
ends detract from severity.
The young girl with a too
high forehead will find this
headdress very flattering. If
you will have your ends
permanently waved your
coiffure troubles will be
settled for the summer
Here are the Trilby bangs named for that
famous lady of fiction who put bangs and
feet on the map. It remained only for Carole
Lombard to present the bangs in modern
guise. They are unusually nice when the
hair is fine in texture and light in color
What girl wouldn't be delighted to brush
her hair back and have it look like this? With
the helping hand of a permanent you can
swim and otherwise enjoy the free life with-
out twice wondering about your wave.
Remember to brush conscientiously for lustre
55
Three
Little
Tricks
Adrienne Dore is having a grand stretch.
Stretching is the perfect instant pick-up and
the lazy way to exercise. It relaxes, then
starts quick, fresh circulation. Take half a
dozen good stretches in bed in the morn-
ing. Or better, jump out and lie flat on the
floor. Now stretch, hold your breath a few
seconds, then relax. When you can't lie
or stand straight, then stretch one part of
the body at a time — your neck, your arms,
your legs, even fingers and toes. Stretch
when you feel you simply can't get dressed
for that party, then lie down for ten
minutes and make yourself see and feel
nothing but black velvet. It sounds a little
mad, but it's one of those ways of forcing
other subjects from your mind and relaxing
completely. Stretching and Hollywood s
old favorite, a cup of hot, black coffee
with a dash of lemon, are two self-aids
that make the world look rosier. Stretching
is for any time but reserve the coffee for
those rare needs for unusual effort
Adrienne Dore's lifted
head reminds me that
life has a way of look-
ing up when we look
up. A famous movie
star tells me she takes
ten years from her ap-
pearance by lifting her
head slightly. It slen-
derizes the neck,
smooths out under-
the-eye shadows. Try
it and see what it does
to your face
i
"Brushing the hair the wrong way
is really the right way,'' says
Arietta Duncan. Always bend
way down, much downer than
Arietta, and thus increase both
scalp and face circulation
The New
Coronet
Vogue
When Norma Sheerer appeared at the open-
ing of "Mata Hari" with a coiffure similar
to this one she started something. Next day
everyone asked, "Did you see Shearer's
hair?" Whether she was practicing for her
appearance in "Strange Interlude" or
whether she really liked it that way, it was
the beginning of the coronet craze. Just
look at this page. Four lovely coronets, and
there are more in Hollywood. Every coronet
with a personal interpretation. Notice that
not one wears it quite like the others. V/ill
you and I be doing it soon? It's lovely for
evening, but what about our little Watteau
hats, sisters? I can see grandmother's trunk
and attics being ransacked for braids and
switches, for I'm convinced that women will
never have really long hair again. An extra
length, braided, will achieve this effect
beautifully over your bob. Simply wind it
about the crown of the head and pin secure-
ly. There, you look like a lady from
Tennyson's pages!
Karen Morley's version of the
coronet has a purely sculptured
beauty. It is perfect, sleek, sym-
metrical. A braid is coiled rather
low over the smoothly waved
under hair
Dorothy Jordan's coro-
net has that added at-
traction of neck curls.
Soft and youthful, Doro-
thy. Those curls show
you just what to do
with too long ends
Without benefit of curl
Joan Marsh's blonde
hair sweeps up to show
that widow's peak and
those slightly wind-
blown tendrils at the
sides. Very different
[More Beauty Hints on Page 88]
57
The Story Of The Girl
Who Married
Richard Di
IX
By
Lee
Ha v e n
GR \nUATIXGfroma
$90-a-month job as a
shopgirl to sharing an
annual income of
S250.000 is something, as your
Success reporter would an-
nounce. But when the diploma
is in the shape of a marriage
certificate, and that to one of
the screen's most attractive
and charming heroes, there you
are again.
Miss Winifred Coe, queen of
Portland, Ore., shopgirls for
the past few years, is the young
woman who has this string of
accomplishments to her credit,
and the lucky bridegroom is
none other than Richard Dix,
lately of "Cimarron" fame.
Those "in the know" have
been saying, "Well, well, well,
and a coupie of 'em," ever since
the announcement. First, for
the reason that Dix, whose
fame and fortune and personal
wealth is second to none in the
"!
^^t v*W"^'
From shop girl to movie star's wife
sounds like an old fashioned dime
novel thriller, doesn't it? Above is
Winifred Coe, when she was working
in the sheet music department of a
Portland, Ore., store. Left, as Mrs.
Richard Dix, just after her marriage
and, right, an accepted member of
Hollywood's swanky Mayfair crowd.
Read this revealing article by Lee
Haven who knows her history well
little country school out at
Snowden district, Klickitat
County, Wash. "You're not
your mama's own," cried these
haughty young farmer folk.
"Well, your folks had to take
you. I was picked," Wini-
fred replied, thus silencing for
all time any imagined superi-
ority on the part of her fellow
country folks. Mr. Coe was a
county commissioner then, and
Mrs. Coe was prominently
identified with the woman's
club, reigning successfully for
two years as club president.
Coe moved his family to
Portland, Ore. There he pur-
chased a suburban grocery
store. Winifred finished school,
preparatory to beginning that
most fascinating of occupa-
tions— earning her own living.
She played the piano well, so
soon found work in the sheet
music section of Sherman, Clay
& Co. Her natural blonde
land of the Kliegs, is, undoubtedly, the first of the established
screen stars to go outside society and the profession in search of
love and marital happiness. That he has found it, and in great
measure, is not doubted. The height of his adoration for this
lovely little working girl is common talk here and about, and
particularly at White Salmon, Wash., where Mrs. Dix, then
just Winifred, grew to girlhood.
What they deem of particular interest is the fact that once
upon a time, if you can imagine, Winifred was actually given
away. It was back at Minneapolis where Mr. and Mrs. W.
Scott Coe and their one child — a son— then resided. " It's just
like some of those sorry plays we see, isn't it?" they say.
Winifred's pride in her adoption by the Coe family was
indicated in remembered "tiffs" with snippy children at the
beauty, magnificent figure and perfect grooming marked her at
once as a queen among shopgirls.
Soon she was heralded as a candidate for queen of Portland's
world famous rose fete. This venture, unhappily, cost her her
job, but she quickly secured similar occupation from Sheet
Music Service, Inc.
Throughout the ins and outs of this employment, while
standing, playing, selling, yes, and tiring at the game of trying
to please the service-crazed public, she managed always to smile.
Who couldn't? What girl couldn't smile, happily, regardless
of fatigue, with Dix for a sweetheart?
But how did she meet him? Well, that's an easy one.
Figure it out. Her foster brother's wife's sister is married to
Dix's brother.
By
Leonard
Hall
The Story Of The Girl
Who Fought Odds —
An
ce
Whit
e
WHEN Hollywood knocks 'em down, they're usually
out, and Oblivion gets another long-term tenant.
It's a way filmania has with those it chooses to
chasten and then chase.
But there is one outstanding, amazing exception. It is
comprised of ninety-six pounds of pure, unadulterated spunk
and gumption — high-hearted, brave-spirited little Alice White.
There's a girl for you — and an astonishing story! She's a
combination of all the screen Cinderellas ever dreamed by
woozy scenarists. She's the heroine of a greater pluck and luck
yarn than Horatio Alger ever confected.
Alice White literally battled her way from script girl at
thirty-five dollars a week to star at two thousand. Then,
marked for the slaughter, she was
nudged and chivvied from the
studios, shuffled from the Hollywood
deck, and ear-marked for a return to
stenography by wise boys who
thought they knew.
But they didn't know Alice White,
for all their ten-cent craftiness. To-
day the rejected one, pretty and gay,
fit as a fiddle and taut as its G-string,
sings (tra-la) and dances (ha-cha)
in the country's greatest vaudeville
and picture theaters. Each week
she collects a fat fee. She sports
mink and chinchilla in the open
season for such. She gives radio
audiences an earful of Hollywood be-
hind the camera. With plenty of
money and more sp'zerinctum than
ever, her bright little eyes are focused
sharply on a bigger and better chance
in pictures. And she loves a boy —
and he loves her!
IS this a picture of a Hollywood
failure ? Then I am the Queen of
Roumania! What, as the current
saying hath it, a girl!
Little Alice started with an ace in
the hole, for she Knew Hollywood
When. She went to Hollywood
High School — spawning ground of
many young troupers. Once on the
loose with her sheepskin, her loving
grandma decided that young White
would do the usual — a little more
education, the life of a little lady and
marriage to a youngster of the better
sort. But she reckoned not on the
sizzling spirit of young Alice!
It was Battle No. 1 on the stiff
climb upward! Dissatisfied with her
allowance, and determined to stand
and struggle on her own, the girl
went to business school, became a
hot shot at the notebook and keys,
and got herself a job as script girl on
the old Chaplin lot.
From that day to this Alice White
has given the lie direct to the old
Hollywood wanted to get rid of this
little girl. "Okay," said Alice, "I'll go."
By making personal appearances she
has shown 'em she can get customers
in great vaudeville theaters when
the biggest stars' films fail to click
popular wisecrack — namely, that what goes up must come
down! That may be so in some sororities, but not Alice's,
which is Grabba Hunka Fame.
Here's how she looked then. She weighed 128 pounds with-
out a Sunday paper under her arm. Her hair, which we have
always known as exploded blonde, was medium brown. But
her big eyes had the sparkle and snap that tell of the pep and
spirit within that small cranium! At that time Clara Bow was
It, Those and Them in pictures. It was the dizzy, dazzling
hour of Flaming Youth.
"Why don't you try the other side of the camera?" said a
pal.
"What a notion!" said little White.
Just the same, she took a test at
Universal — one of those ghastly
mass affairs, with thirty or fort}' girls
smirking prayerfully into the same
camera. It was for the old "Col-
legians" series — first try of Junior
Laemmle. Terrible test! No go!
BUT other tests followed, at Para-
mount and First National. She
made one at Metro with Don Al-
varado. Once the idea of pictures
was firmly planted nothing else
would do. A typewriter was a
bogie-man — only the make-up box
could satisfy.
Paramount, engaged in one of its
periodic scraps with the Bow belle,
made goo-goo eyes at Alice. She
decided that two Bows on one lot
was one over. And she signed on at
First National at $150 the week.
Months passed, and she didn't
turn a wheel. Then came a call —
for a plump little part in "The Sea
Tiger," that big costume affair with
Milton Sills and Mary Astor. Alice
was largely agog. But the whole
studio seemed to turn on her and
hiss. Director Dillon said flatly
that he didn't crave the pert little
minx for the part. As she walked
on the set for the first time, even the
hot sun arcs seemed like so many
frigidaires. In a gale of enthu-
siastic silence, she was instructed.
With her back to the camera, she
was to walk across the set toward
the dignified Mr. Sills — ruffle his
hair, nibble his ear and perform a
general job of flapper vamping. She
was scared ossified, but she did it —
and all the way to Sills she gave
herself pep-talks. "Come on, White
— do you want to be in pictures?
What are you scared of? Rah-rah-
rah, ME!" And she made it, and
she did it — and when the scene was
over she saw the then-great Colleen
Moore, [ please turn to page 112 ]
59
Twenty years ago young, handsome Maurice Costello, right, was as popular
as Clark Gable is today. Now, ill and broken, he is left with the memories
of his glorious past. The love of his daughters, Dolores and Helene, and his
hope that his granddaughter will carry on the theatrical traditions, sustain him
The Idol of Yesterday
A FEW obscure lines in local newspapers recounted the
fact that Maurice Costello had walked into a Beverly
Hills drug store and collapsed upon the floor. He
was rushed to the hospital where the doctors said
he would pull through.
Twenty years ago that would have been front page news.
Twenty years ago Maurice Costello was as famous as
Clark Gable is today, and an even greater idol. He was the
first great matinee idol of the films.
This generation may not remember him, but there were
women of another generation who wrote him letters by the
thousands, who followed his carriage when he drove in the
park, who waited at stage doors to catch a glimpse of him,
flocked to see him on the screen and languished over him
beneath their Merry 'Widow hats.
He was popular in a day when women fluttered and giggled
and were very, very girlish. He was very handsome, very
proud, very strong — and they adored him.
But that was all a long, long time ago.
Now Maurice is fifty-five— which isn't very old for a man
in any profession but the profession of being a screen idol.
Sometimes, it isn't very old for that. Maurice is just three
years older than his son-in-law, Jack Barrymore, who still
causes feminine hearts to thump.
But Maurice's glory waned. He was too great a sensation
while he lasted. His adorers spent all their admiration for
him so intensely that it was quickly used up and when he
slowly found himself crowded out by younger men: by passing
styles I the stalwart film heroes of those days were very different
I the lady-slapping Gables and Cagneys); by a brisker,
more keenly competitive business, the fond ladies who create
matinee idols were casting their glances, grown bolder now,
with the years — elsewhere.
So nobody heard much about Maurice Costello. Perhaps he
didn't mind so much, for there were Dolores and Helene.
Dolores became a great actress and all the pride that Maurice
had taken in his own work flowed to Dolores and to Helene,
who prospered well enough on the screen.
But eventually even that was taken away from him.
SEVERAL years ago he and his wife, who has since died, were
divorced. The two girls sided with their mother and Maurice
was left completely alone, alone in a small house with only the
memories of his once glorious past. The walls of that house
were lined with pictures of his once great friends. And in the
lower left hand corners of the photographs of these great
ones were autographs affectionately inscribed to a once
beloved "Cos," as his intimates called him. So there he
stayed, miserable and broken.
Two years ago the first step toward a family reconciliation
was made. Costello at that time was ill with influenza. He
was completely alone, so he left the door of his tiny home open,
hoping that some visitor might call.
One day, as he lay there, he suddenly looked up and saw his
son-in-law, Jack Barrymore, standing over his bed.
•'We've had our differences," said Jack. "Now I am here
because you're one of the old theatrical men, raised in the same
traditions that I was. You're ill-and I'm here to help you."
The sentimental Irishman, deeply touched, broke down
completely. Both men are sentimental. Both men under-
stand the tradition of the theater, that any actor has a claim
on any other actor, when he is [ please turn to page 92 ]
Check Your Smartness By
THERE'S a kindred spirit be-
tween fashions of 1918
and 1932. If you don't believe
it, look closely at Dorothy
Jordan's costume above.
Checks, capes, tailored ef-
fects— even skirt lengths — are
similar. Yet this is worn in
"The Wet Parade," a picture
of pre-prohibition days.
A HUGE organdy bow on a black
jacket, a white straw hat banded
in black — sponsored by Dorothy Jordan.
BEIGE and white — nothing
smarter says Kay Francis.
Right you are, Kay, and this is
a smart silk frock with those
trick lapels running under
straps that form the belt. Note
the white buttons. Kay wears
this in her new picture^ "A
Dangerous Brunette. '
Use Screen Tips
WHEN you put black collars and
cuffs on a tailored white jacket
you strike a new costume note. Dor-
othy Jordan further stresses the smart
color scheme here by her hat and a
plaid scarf. From "The Wet Parade."
SLEEVES are a big detail on this green silk frock you
will see Kay Francis wearing in "A Dangerous
Brunette." The fulness centers above the elbow. Isn't
your skirt a little too long, Kay? Nice accessories.
DOROTHY JORDAN has just been cut out of this
picture to show you a close-up of that important
detail of printed silk blouse and cuffs on a black jacket
dress. That's an organdy flower applique on the cuffs.
On New Fashions
■
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LOOK closely at this black coat of
- Ruth Chatterton's — it's full of new
ideas. There's the sleeve fulness at the
wrists, the white stitching, and the
fabric Ascot scarf. You will see it in
"The Rich Are Always With Us."
PLAIDS combined with a solid color, as in this youthful
brown wool suit of Bette Davis's, are high in fashion.
A brief cape looks like epaulets from the front. Trick
patent leathen belt. In "The Man Who Played God."
TOES are coming out from hiding these days. These
revealing sandals go with Dorothy Jordan, and the
flounce is a negligee to look for in "The Wet Parade."
Hollywood toes are carefully groomed, you know.
MOST lounging pyjamas are decorative, but few
are as practical as this charming suit worn by
Mae Clarke in "Impatient Maiden." The suit is
adapted from the Chinese — pale blue imported Chinese
silk in a brocade pattern — and is made with a simple
jacket and moderately full trousers. A standing collar
and frog fastenings on the jacket stress the Chinese
influence. A nice choice for Summer wear.
THIS striking evening costume is one of fashion's
paradoxes. The gown is very feminine with its
bodice of silver sequins and slim fitted lines. The short
jacket is almost mannishly tailored. And the dull
luster of the white satin contrasts with the glitter of
sequins. There's a new note in white satin sandals
with toes tipped in sequins to match the bodice.
Mary Doran looks like this in "Beauty and the Boss."
The Unknown
T1
1
'NTERVIEWING is the
strangest of all the trades.
It was not, you remember,
'as the average interviewer
that I came on Photoplay. I
had been a pretty bad actress
in pictures and had also served
in the publicity department at
one of the biggest studios.
Many of the stars were my
personal friends and I always
felt a little silly when I went
to interview them. I tried to
steer clear of those ordinary
"said the star" and "said the
interviewer" stories (which
have long since become passe)
and discussed the people as I
knew them.
But there were other actors
and actresses whom I met for
the first time. In spite of the
sniffs of many of my highbrow friends, I have always felt a
strange duty toward the people who read the stories I write.
I have felt myself a sort of modern Boswell whose job it is to
give as sincere biographical accounts of the movie Dr. Johnsons
as I could.
I do not believe that the picture people have been given any
undue importance. They are most certainly a part of American
phenomena, a reflection of their era and their histories are, as
a rule, quite as enchanting and often more glamorous than
the subjects of many of the more erudite biographies. And I
do believe that they have had as great an influence over their
subjects as had Napoleon, Catherine the Great, Queen Eliza-
beth and any of the other grist of the biographer's mill.
I can truthfully say that I have never approached a story
for Photoplay lightly. Everything that has borne my insig-
nificant byline has been what I honestly and sincerely thought
at the time. Many of the stars I have liked better than others.
Many I have not liked at all. But if I have failed to give a
correct estimate, I have failed only as an analyst and not for
want of sincerity.
An interview is a hybrid sort of introduction to a person.
The star is ill at ease. So is the interviewer, if he be at all
sensitive. Unless the stars are put at ease they are apt to show
Hollywood
IK
now
By Katherine Albert
Continued From Last Month
the interviewer only their most
unpleasant and artificial sides.
It is difficult to give an
accurate estimate of a person
in a half hour's conversation
unless one is unusually intui-
tive. So often I do not trust
my own reactions, but consult
the star's acquaintances before
writing a story.
But sometimes some note of
accord is struck in a first
interview.
It happened the first time I
interviewed Mary Astor. I came
to her to find out how she was
bearing up under the strain of
the death of her husband,
Kenneth Hawks. I wanted to
discover how she had inured
herself to widowhood and why
it was that her screen work
had become more solid and much deeper since his death.
The pleasantries were said. The weather was accounted for.
And then I mentioned Kenneth. I had the feeling that some-
thing was wrong. And as we looked at each other, I knew that
the bars of Mary's reserve were being lowered. Suddenly I
knew that Mary and I were friends and that she wanted to
tell me something — something that had long been pent up
inside of her.
SHE said, "I wish I knew you better. I wish I could tell you
something — but I'm afraid to. All I can say is that I wish
just at this moment I did not have to discuss Kenneth."
I waited. I knew she would go on. "You see, I'm in love
again. And it is no disrespect for Kenneth. He would want me
to be happy. He, who was so dear and thought of me so gently,
would want me to marry again. As a matter of fact, it is a
compliment to him that I would marry again. The perfection
of our life together makes me know how fine marriage can be.
"I'm in love with the doctor who attended me when I
collapsed after the accident. He brought me back to health
and gave me a deeper understanding. I love him and we want
to be married, but I'm afraid of the publicity. I know what
the newspapers will say and how [ please turn to page 109 ]
Buddy Rogers' father is so proud of his son that tears
came to his eyes when he spoke of him. "Buddy
has no faults at all," he told me. "He has never
given me or his mother a single moment's worry"
Robert Bow, with his daughter, Clara, of whom he
said to me, "If I told Clara Bow's life story it would
certainly be startling. She has never told it
straight." But Robert Bow did not tell me that story
65
"You'd better put your left hand out, Miss Pottle,
so they can see your wedding ring in Kansas"
0
M
G
aroo
b
R
an
When Garbo and Jack Barrymore were cast in the same picture, Hollywood held its breath
and wondered when the big fight would begin. Instead, the two were docile as lambs,
and clasped hands in friendship and mutual professional admiration. And of Garbo Jack
says, "Temperamental? Well, I don't profess to know what temperament is, but if it's
knowing what you want and doing your best to get it, then let's have more of it"
ON January fourteenth in the year nineteen hundred
and thirty-two, public prints chronicled two unusual
happenings in Hollywood.
One was the Big Snow.
The other was the meeting of John Barrymore and Greta
Garbo on the "Grand Hotel" set.
The snow melted from the palm fronds almost as soon as
it fell. As it vanished in fact, so did it in public interest. But
the Barrymore-Garbo fusion endured. It remained to con-
found all speculation and stifle smouldering conjecture.
John Barrymore and Garbo instantly warmed to each other.
From the moment they clasped hands in acknowledgment of
Director Edmund Goulding's introduction there was no
professional jealousy or suspicion. Each had too much respect
for the other's artistry to indulge in the pettiness Hollywood
scoffers predicted.
Barrymore, the aristocrat of the American stage. Garbo,
the peasant girl, strangely gifted, grown to greatness through
her driving energies.
Garbo has known the name of Barrymore since she first
studied stagecraft in the Royal Dramatic Academy in Stock-
holm. It is possible she never saw him in the theater. But
she has seldom missed his screen portrayals. To have John
Barrymore playing opposite her in the love scenes for the
picturization of the Yicki Baum play was undeniably a pro-
fessional thrill for Garbo.
Garbo's performance in "Grand Hotel" is declared the
finest, most sincere characterization of her career. She
worked as never before, studio associates say. No rehearsal
was too arduous; no camera angle too difficult to figure out.
Her lightness and constant buoyancy were
remarkable to those who have watched her R V f
work over a period of years. Seldom, they J
a
declared, has she been so much of light tones and so little of
the shadows.
Barrymore, a keen student of human nature, must have
found her a fascinating subject. One of the most amusing
anecdotes ever told about Garbo concerns him.
A famous editor was visiting the "Grand Hotel" set. Barry-
more and he had a long, friendly conversation.
When the visit was over, Garbo seemed appalled at Barry-
more's friendship with a newspaper person.
"Do you know him?" she asked curiously.
"Know him?" laughed Barrymore. "Why I used to work
for him!"
"What — you a newspaperman?" she gasped with dis-
believing alarm.
"Oh, I was just a cartoonist," he explained.
"Ah," laughed Garbo with obvious relief, "that's better —
much better!"
GARBO'S great zeal for characterization, her concentration
on her work, reminded Barrymore of Ellen Terry, the great
English actress of the generation just passed.
"Of course, I never worked with Miss Terry but I have
seen her a number of times both in England and this country,"
Barrymore recalled. "Garbo has Miss Terry's gift of self-
sufficiency. She doesn't need people around her for enter-
tainment. She wants to be left alone. Her interest in her
work is absorbing and complete. She hasn't time for desultory
talk between scenes.
"Could you imagine Garbo after a dramatic scene calmly
sitting down and remarking, 'Think it's going to rain, baby?'
"Garbo handles her scenes like an actress
7 VVi V T? °^ l°n8 sta8e experience. I was surprised
to discover she [ please turn to page 95 ]
67
Quit 1 hose Cocktails
If you have a friend who is
stoop-shouldered show her this
picture. And then follow
Sylvia's example. You'll be
doing that friend the greatest
favor you can do her. Here's
what Sylvia says:
"A girl wrote me saying she
couldn't hold her shoulders up
and she had tried everything.
She makes me sick. So, you
girls who can't hold your shoul-
ders up, here is a way. Find a
friend who will give you a good
hard whack right between your
shoulder-blades every day —
and tell her to give you a whack
you won't forget until the next
one! I'd love to do it myself!
What's the matter with you
girls? Get those shoulders
back. You can hold them up if
you will. Get a little gumption.
Don't make it necessary for
somebody to whack you. Hold
those shoulders back your-
selves, you foolish girls!"
EVERY school teacher gives her class an examination
once in a while and since I'm a teacher, too — teaching
you thousands and thousands of girls and women how to
be healthy and beautiful — I'm going to give you a
review — an examination. At the end of this article you will
discover a complete resume of what I've said in the three pre-
ceding issues of Photoplay. This will not only help to refresh
the minds of those who are already following my treatments,
but it will give the ones who haven't started with me a chance
to start in right now.
Get wise to yourselves, you who haven't started yet. I wish
you could see the thousands and thousands of letters I've
gotten telling of the miracles that the girls have worked on
themselves through my articles in Photuplay. If you who
haven't climbed up on my band wagon, or could take a look at
those letters, you wouldn't waste another minute. Come on,
girls, start today to be beautiful and healthy. You fat ones can
lose fifteen pounds in a month. You thin ones can pick that
much up. Don't do it tomorrow — come on, hop to it. Do it
now and do it yourself. You can, you know, do for yourselves
everything that I used to do to the stars.
You can be lovely and attractive if -if you will work.
But here's one thing I've got to impress on you. I'm afraid
I haven't been emphatic enough.
Quit those cocktails! And when I say quit, I mean quit. I
know you think to yourself, "Oh, one little cocktail couldn't
hurt me." That's true. One little cocktail couldn't hurt you,
but one little cocktail every afternoon, or even every other
afternoon, can and does hurt you.
You can't possibly follow my instructions half way. It's all
or nothing! You've got to play my way or not at all and I say
— "Liquor is out — absolutely out!''
I know it's hard when you're at a party and everybody else is
drinking, and I know you'll get a lot of kidding from your
friends, but just say. "Sylvia won't let me!'' Then have a
tomato juice cocktail instead! Or water.
If you're going to string along with me, if you're going to
make yourself lovely, you've got to climb up on that water
wagon — and stay there! Two cocktails will undo all the reduc-
ing work you've done in a week. Is it worth it? Going through
all the exercises, following the diet, etc., and then undoing it all
by sipping a couple of cocktails? Ask yourself that question.
I've no patience with a girl who hasn't the stamina to refuse a
cocktail.
Your letters tell me that you have refused sugar and butter
and all the things I've vetoed in the diet. But that isn't all
you've got to refuse. Xo liquor, girls, and that's final!
Most of the letters I got this month asked me how to reduce
the legs. One very intelligent young woman, who is a physical
education teacher, reminded me that a lot of the screen -
had been dancers and, therefore, must have had muscular
calves which they have no longer. She wants to know if ;
muscular calves can be taken off. Can they? Listen, when
Constance Cummings first came to me her legs were enormous.
Look at her legs now — they are beautiful. I reduced Constance
Cummings' legs two and one-half inches in the calves. You can
reduce yours. Y'ou can do it yourself. I also reduced the legs
of Norma Shearer, Madge Kennedy, Alice White and hundreds
of others.
OX the following pages you will find pictures and under them
directions. If you follow my instructions I guarantee that
you will be rewarded. You can take off from three-quarters
of an inch to an inch in your ankle measurement and you can
take off more than that from the calves.
Muscles are more difficult to reduce than fat, but muscles can
be taken off, too. I know, because I have done it. Just stick to
it and to it.
If you are bow legged you can help that by taking off the
flesh from the outside of the legs and leaving the flesh on the
inside, thus making your legs seem straight.
I've given you a lot of exercises in this series and I'm going to
If You Want A r igure
s
ays
^ \r 1 11 7 n Everything you want to know
j about reducing or gaining weight
give you a lot more. Now, you'll ask me
when you will have the time to do them all.
Well, here's the answer. Take your choice.
Do your dancing exercise for one hour every
night or afternoon (don't neglect that), and
then give twenty minutes in the morning to
the other exercises. Choose the exercises
that you need most, the ones that will reduce
the spots that need reducing, and concen-
trate on them. Just use common sense. I
can't think for you, you know. You've got
brains — use them! Think for yourselves.
You don't need to ask me about every move.
MAYBE your hips are too fat — well, con-
centrate on the hip exercises. Or, maybe
it's your stomach that needs taking off, or the
legs or arms (you'll find an exercise for reduc-
ing the arms illustrated and explained on this
page) — so pick out whatever is right for you
and devote the twenty minutes to that.
Common sense is a great thing. Try cul-
tivating a little of it.
Hundreds of you have given me your
height and asked me what you should weigh.
That's so darn silly. That's where common
sense comes in. Those charts of the right
weight for the height are a lot of bunk. No
two people are alike — some have bigger
bones than others, some have firmer flesh.
You know how you look and how you feel.
Either reduce or build yourself up until you
look and feel as you want to.
Don't go by silly charts. Use your head.
Exercise your brains. Fat women who won't
work to reduce have fatty brains also.
Do you think just by learning your height
that I can tell you to the half-pound what
you should weigh? Now, honestly, isn't that
ridiculous? When you look grand, when you
feel fine — then you know you have accom-
plished what you have wanted to accom-
plish. Of course, once you are at the weight
you want to be then you do not need to
This will reduce your arms.
Stand as I am here, on tip-
toe against the wall. Stretch
as high as you can with fingers.
Then, trying not to move your
hands at all (they will, of
course, move about a half
inch) slowly wiggle yourself
down with tiny jerks until
your heels touch the floor.
Note how it pulls your arms.
Work up to twenty times on
this. It will reduce upper and
lower part of arms. Also,
with one hand dig into the
muscles of the other arm —
with cold cream on your fin-
gers— as I have shown in the
leg exercises on the next page
V-<-
follow the diet. But here again you must use
your head. Stay away from rich, greasy
food. Learn to be sensible and don't depend
upon people for advice all the time.
I believe that when you've followed my
diet long enough to be the weight you want
to be you'll be wise enough to refrain from
highly seasoned, rich, greasy food. I believe
that your stomach won't want it any more.
But if you feel yourself gaining weight again
— then back to the diet for you.
But even if you stop the diet don't neglect
the exercises. They will give you good, firm,
beautiful flesh and they will keep your eyes
sparkling and your skin fresh and your body
in perfect physical trim.
My diet is not harmful. It gives you
plenty of food and it gives the bones the
nourishment they need, but if you have some
special trouble, like kidney trouble, for in-
stance, and are on a doctor's diet, you should
take my diet to your doctor and ask him
what part of it you can use and what part
you can't.
AND if you're anemic but live in a North-
ern part of the country and can't get the
turnip tops, eat a lot of baked apples and let-
tuce. But steam the lettuce over a fire with a
little water for three minutes and then eat it.
I've lately discovered that spinach clogs the
system, 30 instead of eating spinach put it in
cold water, just enough to cover it and let it
simmer slowly for an hour and a half. Strain
off the juice and drink it. It is bitter and
tastes like the devil but it's as near as you
can get to pure iron and it will give you pep.
It will also greatly benefit anemic people.
If you're getting tired of just plain mineral
oil and lemon juice on your salads, here's a
reducing dressing that is delicious. Put
about a half inch of mineral oil in a bottle.
Add a half inch of catsup, six ounces of lemon
juice, one tablespoon of Worcestershire
sauce, juice of one onion or juice of a clove of
garlic, one half teaspoon of paprika and
celery salt to taste. Shake this good and
hard. There — that's something to shake in-
stead of a cocktail and, believe me, that will
do you good, whereas a cocktail will do you
plenty of harm!
SO this is what you've learned from the
article and pictures this month — no cock-
tails, how to reduce the legs and arms, how to
hold your shoulders up and more about the
diet. Next month I am going to show you
how you can take off a double chin and keep
it off. I have done it to my patients and you
can do it, too. I'll also tell you how to keep
your hands from wrinkling, your mouth from
sagging and how to get rid of laughing
wrinkles. Oh, I've got some startling things
for you next month and I don't want any-
body to miss these things, so here is your
review of what has gone before. You girls
69
Leg position for exercise
described below to reduce
the ankles. You can't ac-
tually touch toes with finger-
tips, but that's not the idea
Sit on the floor in this position. Take hold of the
calf of your leg and, with hands like this, squeeze
and squeeze hard. Dig under the muscles with
thumbs and fingers. Bring both hands around to
fat part, letting thumbs rest on shins. With
fingers and palms of hands dig in. Keep leg
muscles relaxed and work with hands. To re-
duce ankles lie on floor with legs in position
above, toes pointed. With arms above head,
forming straight line through body from tips of
fingers to toes, spring up. Try to touch toes with
fingertips, but do not relax toes. Do this a few
times at first and work up to twenty times a day.
Note sharp jerking sensation in ankles. Spread
towel over legs and ankles and beat the flesh
through the towel with palms of hands. Hit
hard, but keep legs relaxed. Toe dancers have
big calves because they can't relax their legs
and women who haven't gotten in on this business of being
beautiful and happy and well — here's your chance.
FOR FAT GIRLS
General Reducing Diet
Breakfast
Small glass about four ounces) grapefruit or orange juice.
Cup of black coffee (no sugar*.
Slice of melba toast with a little honey and no butter.
Luncheon
(You must have one liquid meal a day. It can be at luncheon or
dinner. I give it here for luncheon.)
Glass of tomato juice.
Cup of tea or coffee mo cream or sugar)
or
Large bowl of clear soup (no crackers'
In the middle of the afternoon you can have a cup of tea with lemon
and no sugar.
Dinner
Fruit cup
Salad of lettuce and tomato or any other salad except avocado.
Salad dressing of mineral oil and lemon juice.
.■--mall broiled rare steak
or
Double lamb chop
or
One slice of J4-inch thick roast beef
or
70
Two slices of turkey or chicken and a wing
or
Two slices of broiled lamb
or
Ground round steak, without fat and use the cheaper meat where you
get the fibres.
(Cut off the fat from all the meat and don't use gravy.)
Two green vegetables (peas, carrots, broccoli, greens, cauliflower,
cabbage, etc.
No bread, instead do this:
Bake a potato. When it is done, scoop out the inside leaving about
]4 inch to the peel. Throw away the inside and put the rest back in the
oven until it is dry. Eat this instead of bread without salt and no
butter. It's delicious.
Gelatin
or
Baked apple without sugar
or
Stewed fruits without sugar.
Use no salt on anything, as there arc mineral salts in most foods.
GET out of bed at six a. m. For twenty minutes take this
exercise.
Lift hands over head, swing body round and round from the
waist, feet kept straight in front and about two feet apart. Feel
all the muscles from ankles to fingertips move. Swing body,
hands above your head, from side to side. This is to limber you
up and to prepare you for reducing in spots.
In the afternoon, or at night, turn on the radio and, with arms
above your head, dance an old-fashioned two-step, hips swaying
from side to side and spine moving. One two and one two and
one two. Take a fairly long step and bend your knees. Do this
for one hour every afternoon or night. Take it easy the first few
days but get more vigorous as you begin to get more pep.
These exercises and the diet will [ please turn to page 114 ]
Photoplay Magazine for May, 1932
Your okin needs
71
on
lvAth
ings to be lovely
CLEANSING • LUBRICATING • STIMULATING • PROTECTING
You can make your skin more
lovely by the same inexpensive
care famous society women use
WHAT needless extravagance to
clutter one's dressing table with
complicated beauty preparations! Pond's
simple, wholesome Method will keep one's
skin fresh and clear in much less time, at
much less cost."
So Mrs. Morgan Belmont says, and
countless other women of wealth and lei-
sure have come to know that
the skin needs just four things
to make and keep it lovely:
Cleansing . . . Lubricating . . .
Stimulating... Protecting.
The very texture of Pond's
Cold Cream tells you why it
isthefavoritecleansingcream
— it is so rich in smooth
cleansing oils that penetrate
to the depths of the tiny
pores and float out dust and
grime . . . To remove the
cream and all thedirt, Pond's
Mrs. Morgan Belmont
have made Cleansing Tissues
which are softer, more absorbent
. . . Together, Pond's Cold Cream
and Pond's Cleansing Tissues
give your skin the first necessity
for loveliness — utter cleanliness.
For lubricating, again Pond's
Cold Cream! Its rich oils keep
your skin supple and elastic . . .
Stimulating is the job of Pond's
Skin Freshener. It tightens the
pores and tones the skin by quick-
ening circulation... To give ideal Mrs. Reginald
protection is the Vanderbilt
business of Pond's Vanishing
Cream. It is "essential," Mrs.
Reginald Vanderbilt says.
Follow Pond's Method to
keep your skin radiantly
fresh and clear:
1 . Generously apply Pond's Cold
Cream several times during the
day and always after exposure.
Let the fine oils penetrate every
pore and float all dirt to the sur-
face. Wipe away with Pond's
Cleansing Tissues, softer, more
absorbent . . . half again as many
Tissues in the big new 25^ box.
2. Pat briskly with the stimulating
Skin Freshener to tone and firm, close
and refine the pores and keep the
contours fresh and young.
3. Smooth on Pond's Vanishing
Cream always before you powder, to
protect your skin and make the pow-
der go on evenly and last longer. It
disguises blemishes and gives a vel-
vety finish. Use Vanishing Cream
wherever you powder — arms, shoul-
ders, neck . . . and to keep your
hands soft and white.
4. At bedtime, always repeat the Cold Cream
and Tissues cleansing to remove the day's ac-
cumulation of grime. Then smooth on a little
fresh Cold Cream to soften and lubricate the
skin and leave it on overnight.
SEND IOf! FOR POND'S 4 PREPARATIONS
pond's extract company, Dept. E
114 Hudson Street New York City
Name-
Street-
City
_State_
Copyright, 1932. Pood's Extract Company
Tune in on Pond's every Friday, p:jo P.M., E.S.T. Leo Reisman and his Orchestra and guest artist. WEAF and X.B.C. Network
Photoplay Magazine for May, 1932
an
Screen Stars
know the Secret
of keeping
Youthful Charm
TWENTY- NINE— nearing thirty!
Is that an age to dread? The
screen stars say no ! They keep youth-
ful loveliness through the years.
"I'm 29," says Anita Stewart,
"but I don't dread my next birth-
day a bit! Nowadays it's possible
for a woman to grow even more
charming as the years go by — if she
is willing to take sensible care of
her complexion!"
"I'm 29," says Esther Ralston.
"No one need fear birthdays. We
on the screen, of course, must keep
youthful charm and a young-look-
ing skin is absolutely necessary!"
How, you wonder, do these beau-
ESTHER RALSTON, the lovely star who
owns Esther's Beauty Salon in Hollywood.
"A young-looking skin is absolutely neces-
sary " she says. "That's why I've used Lux
Toilet Soap for years."
Photograph by Russell Ball. 1931
Lux
Photoplay Magazine for May, 1932
73
age to Dread ?
tiful stars keep their skin so youth-
fully lovely?
"Since I discovered Lux Toilet
Soap I never worry about my skin,"
says Anita Stewart.
"For years I've used Lux Toilet
Soap," says Esther Ralston. "And
my complexion is younger-looking
than ever!"
9 out of io Screen
Stars use it
Of Hollywood's 694 important ac-
tresses, including all stars, actually
686 use fragrant Lux Toilet Soap.
It is so gentle, so beautifully white
— as no soap less pure and carefully
made could be! Because the stars'
preference is so well known, the big
film studios have made it their
official soap.
Surely your skin should have this
safe sure care! Buy several cakes
and begin today to guard complex-
ion beauty as the famous stars do!
ANITA STEWART, charming screen favorite,
says: "From the day I discovered Lux Toilet
Soap I've never worried about my skin. With
this nice white soap I keep it smooth and
clear — so easily!"
Photograph by Melbourne Spurr, 1031
Toilet Soap _ io*
Sari Maritza wears Parisian gowns, speaks the
most cultured British, had a Hungarian mother
and was born in China. She is just twenty-two
Tala Birell is also twenty-two, is a Viennese with
a Polish mother, and speaks German, French,
English and Polish, but wants to think American
T
WO
N
ew
E
xotics
THE Girls Who Danced With Charlie Chaplin Club is al-
most as big as the Association of Those Who Waltzed
With II. R. II., The Prince of Wales.
And now comes this Sari Maritza and the story of a tango
that brought her fame.
Her background is as exciting as her eyebrows. Born in
Tientsin, China, of English and Hungarian parents, she has
traveled all over the world, but it was in London that she
met Chaplin and danced with him and went to all the smart
night clubs and cocktail parties. And there was so much
publicity about it that a representative from a German film
company traveled from Berlin to London to get Sari's name
on the dotted line (her real name, incidentally, is Patricia
I h l ring-Nathan).
An American producer saw her and signed her, so now she's
in Hollywood where Paramount is making plans to introduce
her to American audiences. Howdy, Sari, glad to meet you.
TALA BIRELL, of Vienna, is about as much like the
Viennese charmers they have in musical plays (with soft
tunes and Maurice Chevalier) as Buster Keaton is like
Clark Gable.
You could call Tala the '"no" girl — no gorgeous home, no
mysterious glamour, no constant looking back longingly to
that — "ach, such a loffely country, my Austria."
Instead, she is trying to speak English, to think English, to
have American thoughts. Off screen, she prefers charm to
glamour but before the camera she's as exotic as a red camellia.
Tala was a good actress in Austria. She was signed by
Universal for foreign versions and then learned to speak
English so fast that executives handed her Emile Zola's
"Nana," in which she will have the lead. And they are
giving odds that she'll be a big star. Her ambition is to speak
English so well that audiences won't say, "Oh, another foreigner
with another accent. Ho hum."
Photoplay Magazine for May, 1932
75
WHAT YOU CAN BUY THESE DAYS
with that $Q this tooth paste saves you!
of
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Your common sense tells you that Lis-
terine Tooth Paste did not capture
leadership because of that appealing
price of 25f*. It had to produce results
— quick — positive — lasting — to win
millions to it in less than four years.
Like you, all men and women are crit-
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Quality and results first — price last.
Good as the Name
In suggesting that you try Listerine
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ber that it is made by the makers of
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producing only the best. It is a point
of honor with us — also good business.
And we are proud of this paste. That
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• a friend to your teeth • • a pal to your pocketbook
c
onnne
c
aptures
England
HERE'S the answer to that ques-
tion. "What's become of Corinne
Griffith?"
The orchid lady of the screen is making
pictures in England. But that's not all.
She and hubby Walter Morosco have
taken a house in the exclusive Mayfair
section of London and are entertaining
lords, ladies, dukes and all sorts of im-
pressive people.
And even the Prince of Wales dropped
around to the studio where Corinne is
making "Lily Christine." and auto-
graphed the script she's working on. But
wait— there's more. Many very socially
prominent Britishers are acting as extras
in the film— top hats, monocles and all.
Adolphe Menjou is working at the
same studio and there's much friendly
rivalry between Corinne and Adolphe.
Not professional jealousy, mind you, but
a little checking-up to see which star has
76
Corinne Griffith has become one of the
most sought after personalities in London
society and motion pictures. Here is a new
Chanel gown she wore when she danced
with the Prince of Wales a few weeks ago.
It is a startling creation of white velvet with
a peacock feather design hand-painted in
varying shades and tones of gray. The cir-
cular train is caught up on the side with a
jeweled clasp, for dancing
had the most royal visitors during the
day.
Before she started to work Corinne
was at a cocktail party — yes, they have
them over there — given by Viscount
Castlerosse (impressed?). She was chat-
ting with a man whose name she did not
hear upon introduction, and she ex-
plained to him that she would return to
the screen if she could play in "Lily
Christine." but that she had heard that
the author, Michael Arlen, was pretty
choosy about the heroine and wouldn't
sell the book unless he personally
approved the actress.
"Michael Arlen would be delighted if
you would do the story," the unknown
gentleman said.
"How do you know?" asked Corinne.
'"Because I am Michael Arlen."
Arlen was so finicky about his heroine
because the plot of the story hinges upon
the fact that the gal is nearsighted and
wears horn-rimmed glasses. And the
average actress wouldn't do it.
"Pooh," said Corinne, "what do I
care?" Or maybe she said something
British that means the same thing.
So when you see the picture you'll find
the lass, whom Gloria Swanson called
the most beautiful woman in pictures,
wearing cheaters. But we wouldn't
care if Corinne wears goggles just so long
as she comes back.
i
Photoplay Magazine for May, 1932
77
RUMS
iy 6 lame stockings when YOU ?nay be at fault ?
"Another pair gone!"— natural
to blame the stockings. But you may
have caused those expensive runs!
When your stockings are new,
they are elastic. They give instead
of breaking under strain. Stretch
and spring right back again.
But if you wash away this pre-
cious elasticity — rub stockings with
cake soap so the fibres weaken, lose
their supple "give"— then they break.
At the slightest strain. Even bend-
ing your knee or fastening your
garter may start a wretched run!
Fit, too, is spoiled. Lifeless silk
sags, causing horrid wrinkles,
crooked seams.
SO WHY take chances? Lux is espe-
cially made to preserve elasticity — all the
"live" quality the silk has when it is
new. That's why it offers you the sure
way to make your stockings wear — make
them keep their perfect, flattering^/.
Wash this 2-minute way:
1. One teaspoon of Lux
for each pair.
Add lukewarm water
to Lux, squeeze suds
through stockings,
rinse well.
Don't rub with cake soap.
Itdestroys theelasticity.
Avoid ordinary soaps —
cakes, powders, chips.
These often contain
harmful alkali which
weakens silk, fades col-
ors. Lux has no harmful
alkali. Anything safe in
water is safe in Lux.
Lux saves stocking E-L-A-S-T-I-C-I-T-Y
MILLIONS
of women keep hands
lovely «ithL»«.n«he
dishean- Costs little.
£?
x I VHIS is what the mixer sees when he looks out from his little monitor room high
-*- in the stage's rafters. The mixer, you know, is the lad who sees that voice and
action jibe. Way up there, he is the lord of everything he surveys and the actors and
directors look pretty insignificant. Only the voice concerns him. That's John Miljan
doing a scene for "Are You Listening?" which Harry Beaumont directs. The camera
is on a travelling "dolly." Note the lonely electrician working the giant spotlight
Photoplay Magazine fok May, 1932
79
"Sure, I use Colgate's!
I like it ♦ . . that's why!"
She's a good scout — my mother
is! She's going to be tickled pink
when she sees these two beauts
— even if I did tear my pants
a little comin' through Bailey's
fence. Ma believes in lettin' a
feller do things the way he likes
to do 'em. That's why she buys
me Colgate's to brush my teeth
with. I like it — that's why. Boy —
does it taste keen! I guess mother
knows what she's doin'. Doctor
Ellis told her there ain't any
toothpaste can beat Colgate's for
keeping teeth clean — says more
people use it than any other kind.
An' Ma says 'cause Colgate's only
costs a quarter — mebbe she's
savin' to buy me a new fish
pole. Anyhow — she don't have
to bother about me brushin' my
teeth reg'lar — so I guess she's sat-
isfied, too.
Would you like this picture
of the Uttte fisherman, in
full color, without adver-
tising matter, suitable for
framing? We'll gladly send
you one, without cost. Ad'
dress: Colgate -Paimofive-
Peet Company, Dept. 152>
P. O. Box 1143, Chicago.
Illinois.
This seal signifies that the composition of
the product has been submitted to the Coun-
cil on Dental Therapeutics of the American
Dental Association — and that the claims
have been found acceptable to the Council.
( lorn on ihv cob.
baked ojjjjs and
po talocs. a n <l
l> roiled bacon
Hoiv About More And
Better Picnics For
The Coming Summer?
THIS is the season of the
year when the picnic germ
is in the air, along with
poison ivy, wanderlust,
and calls for sulphur and
molasses.
Secret mountain caves and
beach nooks are haunted once
more and picnic fires laid.
Neil Hamilton has his own
special retreat for picnics near
his beautiful new home, located
midway between mountains and
sea. and cooks an outdoor meal
there frequently, prefaced by a
swim or a hike.
A seasoned picknicker can
always be spotted by his para-
phernalia, which is limited to
the minimum.
Whereas an amateur goes on a
picnic with everything but the
kitchen stove, Hamilton makes
his little jaunts with practically
nothing but the kitchen stove.
Or rather, the stove grate.
HAMILTON offers this grate
suggestion as a helpful one
for all those at the beginning of
picnic careers. Two flat rocks
will support the grate over the
campfire and will eliminate that
annoyance of tipped coffee pot
and cooking pans.
For the following picnic din-
ner, a large campfire is laid,
since nearly the entire menu is
cooked in the coals, after the
blaze has died down to a steady
heat.
Ears of corn in their shucks
are laid on the coals, along with
some Irish potatoes, apples and
eggs.
"There is no danger of the
egg shells cracking if the fire is
kept at a medium temperature, "
Hamilton explained. "Doctors
say eggs are most healthful when
either cooked slightly or very
well done. By leaving the eggs
in the coals for half an hour I
find that they are cooked to a
delicious mealines>. "
IT is best to allow at least an
hour for the potatoes and
apples, with slightly less time
for the corn. Sweet potatoes
can be roasted in the same way.
When Neil takes the "sweets*'
from the coals, he slits the tops
of them, inserts a chunk of but-
ter, presses the opening closed
This is not a miner's dugout, but the favorite
picnic retreat of the Neil Harniltons. And Neil
says he can cook better than the little woman.
Photoplay Magazine
919 N. Michigan Ave., Chicago, 111.
Please send me a copy of Photoplay's Famous
Cook Book, containing 150 favorite recipes of the
stars. I am enclosing twenty-five cents.
Be sure to write name and address plainly.
You may send either stamps or coin.
and leaves them on top of the
grate for ten minutes to melt
the butter.
When the apples are cooked
they can either be peeled, or
halved, cored, and eaten from
the skin.
Long sticks are sharpened to
a point for cooking the bacon,
which is held close to the coals.
THE secret of cooking bacon
is not to have the fire too hot.
says Hamilton. A hot blaze will
cause the bacon grease to melt
too quickly and extinguish the
fire.
Toast may be prepared one of
two ways. Either the slices of
bread placed on the grate, or
held directly over the fire on
pointed sticks.
'"The beauty of this picnic
meal is that one person can
handle all the operations," said
Hamilton. "No need for half a
dozen people fussing around the
campfire. getting in each other's
way and knocking over pots and
pans.
"In fact, until it is time for
the final details, the dinner re-
quires very little attention. "
FOR members of the party who
might prefer sandwiches to
eggs and potatoes, Neil always
carries a well-filled, large open-
mouth glass jar, containing
sandwich material.
This is made according to your
very best recipe for chicken salad,
but in place of chicken he uses
pork.
Buy a strip of loin pork chops
and boil this, in water contain-
ing plenty of salt, until nice and
tender; then chop into small
cubes and mix as for chicken
salad.
Of course, the long sandwich
loaves which now come already
sliced, are not opened until you
are ready to put the salad mix-
ture on. You will then have a
sandwich more delicious than
the average chicken salad sand-
wich.
The most lagging appetite can-
not fail to rally under this com-
bination of outdoor air and
tantalizing campfire odors. Neil
Hamilton and his wife call it
their special eighty-five cent
luncheon!
Photoplay Magazine for May, 1932
81
OLIVE OIL
the great beauty oil
this much goes into every cake of Palmolive
ACTUAL SIZE!
This 6-inch test tube
shows the exact amount
of olive oil thatgoesinto
each cake of Palmolive.
Startling? Yes! And so vital
in modern beauty care that
20,000 beauty specialists
have united in recommending
the daily use of Palmolive.
OLIVE OIL is nature's great beautifier.
It soothes, penetrates and protects
the skin.
But, can you get enough olive oil in
soap? Palmolive answers: YES! And
shows you just how much of this priceless
ingredient is blended with oils from palm
trees in the famous Palmolive formula.
What about other soaps? Do you know
what's in them ? Can you risk using them
on your skin?
Palmolive labels every cake: made of
olive and palm oils. That's why more than
20,000 beauty experts have, for years,
urged its use. They believe in the beauty
value of olive oil in soap. Listen to their
advice. Use Palmolive to protect skin, to
keep it young.
\CuJp iJkxL^Schcn>£^
A
SK THE
A
NSWER
M
AN
WHEW! I- there no end to this lad's
popularity? Your old answer man
lut> ju>t come up for air, smothered
under a stack of mail this hij^h containing ques-
tion- about Phillips Holmes. Funny, you folks
have just discovered that 1'hil is a swell actor,
for he's been playing in pictures four years.
Grand Rapids, Mich., is noted for two things
— furniture and Phil Holmes. That's where
the lad first took notice of an amazing world on
July 22, 1909. He was born to fame, for his
father is Taylor Holmes, one of the better actors.
Phil went to Trinity College in England
(that's why sometimes you hear a slight British
accent when he speaks his lines), but he finished
lucation at Princeton. His ambition was
to be a prize -fighter, but trouper's blood
flowed in his veins and the call of the studios
was too much for him. He has made one pic-
ture right after the other, a few of which are
'The Devil's Holiday," "Stolen Heaven,"
"Confessions of a Co-Ed," "Two Kinds of
Women," "An American Tragedy" and
"Broken Lullaby." His latest one is "Xight
Court."
Although he's one of Hollywood's most pop-
ular beaux, he has steered clear of marriage or
even engagements — so far. PhillipsHolmesishis
real name, he is six feet tall, weighs 155 pounds
and has naturally blond hair and blue eyes.
M B. Turner, Depew, X. Y. — You'vegiven
Gloria Swanson one too many husbands.
-Michael Farmer is her fourth husband. The
other three were Wallace Beery, Herbert Som-
born and the Marquis de la Falaise.
Mina Cory-Wright, London, Exg. — So
you're just discovering Ramon Xovarro. Xo,
he has never been married and his voice is quite
as lovely in real life as it comes through to you
in the talkies. He was born February 6, 1899.
C. H. J., Chicago, III. — I'm sorry to tell
you that you're wrong, but it was Basil Rath-
bone who played the suave Philo Vance in one
of the S. S. Van Dine stories. Bill Powell
played the smart detective in the others.
A Kansas City Girl, Mo. — I don't want to
mix in any sisterly quarrels, but you are right.
It's Xorman Foster — not Xorman Kerry — who
is married to Claudette Colbert.
Mae Hobbes, Omaha, Xeb. — Yes ma'am,
that's Mae Clarke's real name and she was
born in Philadelphia, Penna. She played the
lead in "Impatient Maiden" after she played
in " Frankenstein," so you see those silly
rumors were wrong.
Mrs. Hazel Baxxixg, Decatur, III. —
Can't a lady's weight change? (Just ask
Sylvia!) Joan Crawford used to weigh 122,
but now she's tipping the scales at 1.50. She is
five feet, four inches tall. You're right about
the Clark Gable pictures. Myrna Loy was
born in Helena, Mont.
Jane Owen, Scarsdaie, X. Y. — Here's
everything jou want to know about crooner
Bing Crosby. He is five feet, nine inches tall,
weighs 165 pounds and was born May 2, 1904
in Tacoma, Wash. Dixie Lee is the missus.
J. Denert, Xew York City.— Travis Ban-
ton is the lad responsible for the clothes Marlene
Dietrich wore in " Dishonored " and "Shanghai
Express." Robert Ames died on November27,
1931. He was 42 years old. Warren William
was born December 2, 1895.
Mrs. R. H. Ptjhle, WrtixaiANTic, Conn. —
N ou win the argument. John Boles began his
Here's a nice informal picture of
Taylor Holmes' favorite son, Phillips.
He's been in the movies for years but
you question askers have evidently
just discovered him. His great work
in "Broken Lullaby" did it!
picture career before talkies. He was Gloria
Swanson's leading man in "Love of Sunya."
Remember now?
Charlie Rucgles Fax, Hillsboro, Ohto.
— Yes, Connie Bennett has a son named Peter,
but he is an adopted child. Wesley and Charles
Ruggles are brothers. Lots of talent in that
family.
Bcella Walker, Louisville, Ky. — Xo,
Janet Gaynor hasn't any children. That was
Una Merkel in "Wicked," with Elissa Landi.
Al-drey Bowex, Broxx, X. Y. — Yes in-
deed, Audrey, Gene Raymond's hair is natu-
rally blond and don't let Gene hear you hint
that it isn't. Eddie Woods was born in
Arizona.
Betty Sachs, Baltimore. Md.— Here's the
news about your little favorite. Leon Janney
Read This Before As\ing Questions
Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side oi the paper.
■ur lull name and address. If you want a
ii reply, enclose a stamped, self-addressed
envelope.
Casts and Addresses
As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
scions and Answers, Photoplay Magazine,
2ii \Y. 5 7 1 li St.. New York City.
was born in Ogden, Utah, April 1, 1917 and
he's been in pictures since 1925.
A . B. B anker, Troy, N. Y. — I think you have
Leila Hyams confused with someone else. She
was born in Xew York City and her mother
and father were the famous vaudeville team of
"Hyams and Mclntyre."
Edith Mirmax, Xewport, R. I. — Marilyn
Miller isn't married now. Her first husband.
Prank Carter, was killed. She was once mar-
ried to Jack Pickford, but they are divorced.
Doris Deters, Waterloo, Iowa. — That's
Clark Gable's real name and he was born
Feb. 1, 1901.
Mrs. Ira Broxsox, Maxsfield, Ohio. —
Paul Lukas is married to a non-professional
named Gizella Benes Lukas, but Paul, and all
her friends, call her Daisy. He was born May
26, 1896.
John Faticaxti, Leominster, Mass. —
Jackie Cooper is of German and Italian descent
but he was born in Los Angeles, Calif., on
Sept. 15, 1923.
Billy Duxlop, Rochester, X. Y — Greta
Garbo had a sister who died. She has a brother
who lives in Sweden and is a very handsome
boy. Her birthday is Sept. 18 and her latest
picture is "Grand Hotel."
Taito Xakajima, Tokyo, Japax. — Edwina
Booth is free-lancing now. She was bom in
Provo, Utah, Sept. 13, 1909 and has blonde
hair and dark blue eyes.
Daphne Corbix. Tucson, Ariz. — I hope
this helps you get Warner Baxter straightened
out. That's his real name. His wife is non-
professional and he was born March 29. 1891.
He has never specialized in gangster films.
Emily Parrigin. Lexington, Ky. — Dorothy
Gulliver is married to William De Yito. And
you're certainly all wrong about Garbo. She
has just finished "Grand Hotel" and is living
in California.
R. D. H., Martix's Ferry, Ohio. — It was
LeRoy Mason who played opposite Dolores
Del Rio in "Revenge."
Helen G. Schwab, Detroit, Mich. —
Xorma Shearer and George Arliss won the 1929
Academy of Motion Picture Awards for the
best performances of that year. Xorma for her
work in "The Divorcee," and Arliss for his
work in "Disraeli."
Tom and Billy, Mobile, Ala. — I'm sur-
prised at you boys not knowing all about Jean
Harlow. Well, here's the lowdown, anyway.
Jean, her real name is Harlene Carpenter, was
born in Kansas City, Mo., on March 3, 1911.
She is 5 feet, 3 inches tall, weighs 112 and has
beautiful blue eyes. Of course you know by
now, that she has platinum blonde locks. She
*-as been spending much of her time lately
making personal appearances in various
theaters throughout the country, but she'll
soon be back in Hollywood making pictures.
Lilly Preeiht. Erie, Pa. — Buddy Rogers,
once a movie star, is now spending his time
appearing in Ziegfeld's show "Hot-Cha." He
broadcasts over the radio some evenings after
the performance. Lupe Yelez is also appearing
in "Hot-Cha." Joan Bennett was recently
married to Gene Markey. She has one
daughter. Adrienne, by a former marriage.
Photoplay Magazine for May, 1932
83
cooed On£ ^TTzaA^t business t/varruidz
/u/exiA, tinted na^oi <yL natural ?
IJOtil! Like other smart
women today, she varies her saJs world authority on the manicure
nail tint with her gown
mart 1
s her V
• • • *
INatUral just slightly emphasizes the
natural pink of your nails. Goes with all
costumes — is best with bright colors— ret],
blue, green, purple and orange.
ImOSC is a lovely feminine shade, good
with any dress, pale or vivid. Charming
with pastel pink, blue, lavender . , . smart
with dark green, black and brown.
Coral nails are bewilderingly lovely with
white, pale pink, beige, gray, "the blues"
. . . black and dark brown. Wear it also with
deeper colors (except red) if not too intense.
Cardinal is deep and exotic. Contrasts
excitingly with black, white, or pale shades.
Wear Cardinal In your festive moods — be
sure your lipstick matches!
Colorless is conservatively correct at
any time. Choose ir for "difficult" colors!
lou absolutely can't tell the
Girl with a Career from the social but-
terfly these days. She wears the same
elegant clothes, lunches at the same
smart restaurants and goes in for the
same alluring Variety in nail tints.
The truth is they both know they
can't afford not to be smart. And to be
smart — in or out of business today —
you simply can't stick to one lone shade
of nail polish.
Besides, variety in nail tints
actually PAYS. Rose nails can make
the simplest little dark blue frock look
like a Paris original! And Coral finger
tips with the new beiges make your
arguments twice as convincing either
in the office or at home!
Don't worry about choosing just the
right shade for the right gown. You
MISS JERRY MAXWELL
FASHION PUBLICIST
SAKS-FIFTH AVENUE
Cutex
can always refer to the panel above.
But remember there's the necessity
for quality as well as color. Cutex is fa-
mous for both. You can depend on
Cutex Liquid Polish to have a grand
lustre, go on smoothly, dry almost in-
stantly, and never crack, peel, streak
or fade. It even has a new bakelite cap
with brush attached that can't touch
the table top. That's efficiency for you!
Go right out and get your favorite
Cutex shades today. You can start
with a couple — but if you have any
executive ability, you'll find time to
use all five.
Northam Warren, New York, London, Paris
.. only 54*
Follow this easy Cutex Manicure . . .
First scrub the nails. The.i remove old lifeless cu-
ticle and cleanse beneath nail tips with Cutex Cuticle
Remover & Nail Cleanser. Remove old polish with
Cutex Liquid Polish Remover and brush on the
shade of Cutex Liquid Polish that best suits your
costume. End with Cutex Nail White, Pencil or
Cream, under tips for accent. Before retiring, use
Cutex Cuticle Oil or Cream to soften the cuticle.
2 shades of Cutex Liquid Polish
and 5 other Manicure
Essentials for 12?
\oRTn\M Warren, Dept. 2 Q5
191 Hudson Street . . . New York, \. Y.
(In Canada, address Post Office Box '23-20, Montreal)
I enclose lit for the new Cutex Manicure Set, rhich in-
cludes Natural Liquid Polish and one other shade \. hich
I have checked. . . D Rose □ Coral □ Cardinal
Photoplay Magazine for May, 1932
■ NANCY:
4 * "I'm only half
through my
dishes. . .how
do you get
finished
so soon?"
ELAINE:
"I guess you
don't know
about Lux.
It works twice
as fast . . . and, my dear, it's
simply grand for your hands!"
TURN DISHWASHING
INTO BEAUTY CARE
while you wash dishes faster
WHY NOT let Lux give your
hands beauty care right in the
dishpan ?
So many soaps — cakes, powders,
chips — contain harmful alkali which
dries up the beautifying oils of the
skin. Gentle Lux protects these natural
oils — leaves hands softer and whiter
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Short Subjects
of the Month
Gather 'round, bridge fans, and see yourselves kidded.
But you can't help getting a lot of laughs out of "Bridge
Wives," a grand short, reviewed below. The famous
Culbertson-Lenz tournament was the inspiration for this
BRIDGE WIVES
Cameo-Educational
The famous Culbertson-Lenz bridge tourna-
ment is taken for a terrific ride in this hilarious
comedy. Fern Emmett, the leading contestant
in an all-feminine tournament, which has been
going on for three months, has to retire from
play because her husband goes bridge mad.
UNSHOD MAIDEN
Universal
You mustn't miss this hilarious comedy. The
studio dug up "Shoes," a picture made by
Mary McLaren fourteen years ago, and put
the funniest scenes together with the voice of a
great wisecracker describing it as it would be
played today. See the possibilities?
HEAVENS! MY HUSBAND!
Mack Scnnctl-Educational
Andy Clyde, a jittery, jealous bridegroom!
What could be funnier? Poor Andy is a night-
watchman who can't keep tabs on wifey — a
trouble-making friend adds to the confusion.
A goofy comedy with lots of laughs. Dorothy
Granger is Andy's everything.
COLLEGE GRAPPLERS
RKO-Patlie
This time Grantland Rice puts a lot of pep
and punch in a wrestling sports-short. He
shows college boys being trained and winds up
with scenes of gym bouts attended by an en-
thusiastic, cheering audience. Entertaining.
SLIDES AND GLIDES
Brown Nagel-Edw ational
Swell action shots of the winter Olympics at
Lake Placid. Skiing, fancy and fast skating,
and those death-defying bob sled glides.
There's enough punch in this short to make you
think you are there yourself. Don't miss it.
winter sports fans.
THE WIDE OPEN SPACES
R KG- Pat he
A lot of big shot comedians, aided by Doro-
thy Sebastian, get together for a swell bur-
lesque of an old time Western. They didn't
miss a trick, for there are Indians, bandits,
sheriffs, covered wagons and even the village
school ma'am. Very amusing.
PLAYGROUND OF THE
MAMMALS
Mack Scnnctt- Educational
Here is another interesting episode in Mack
Sennett's deep sea fishing series. One of the
thrills is a one-man tussle with a huge por-
poise. Fishermen will get a big kick out of
these — the rest of you will be glad just to be
sitting on dry land!
BABBLING BOOKS
Paramount
A lot of nonsense in a book store, with some
pretty funny gags of the Marxian type. This
short is for the lovers of mad nonsense only,
and seems more like a vaudeville routine than
HOLLYWOOD LUCK
Ideal-Educational
Those three extra girls who have such trou-
ble crashing the Hollywood studio gates, are
again embroiled in a series of escapades. Rita
Flynn tries to hitch her wagon to a potential
star in this one — quite unsuccessfully. Good
fun.
THAT RASCAL
Vanity-Educational
Introducing another male torch singer,
Harry Harris, a rival to Hing Crosby. This
young man is a composer, pianist, radio star,
and what have you. But he can't count acting
as one of his accomplishments. You'll enjoy
his songs, but find his comedy dull.
TORCH Y'S NIGHT CAP
Educational-Torchy
Ray (Torchy) Cooke gets into another big
business scrape with very amusing results for
everybody. This time he loses an important
document, saves a man's life, helps some
elopers and winds up in court — all in all it
makes good entertainment.
Photoplay Magazine for May, 1932
85
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The Rockne is selling fast be-
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You know you're right about
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the getaway. You marvel at the
Rockne's steadiness and balance
even when the speedometer is
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relaxed, more luxuriously com-
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low-priced car before.
So why take a low-priced car
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. . . and get a Rockne . . . and get a
thrill!
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86
Photoplay Magazine for May, 1932
she's got . . .
that certain
There are girls in her crowd more beautiful
— but none more popular. Call it personality
— call it luck — call it what you will — she's
got that certain something !
And not the least of her charms is some-
thing she's achieved herself. Something every
girl can have ... a truly lovely complexion !
She knows the importance of a pure, fine
face-powder. For impure powders cause
blemishes, roughness, large pores. But the
use of a safe, lovely powder brings satin
smoothness to the skin.
This is the explanation of the magic of
Luxor powder. It's made in the Luxor labo-
ratories of pure, highly selected ingredients.
It is carefully mixed for perfection of blend.
It is sifted mist-fine through layers of tight-
stretched silk.
Luxor powder is transparent, of a delight-
ful fragrance and delicacy. You'll find it
transforms your complexion to a new petal-
smooth beauty. For Luxor powder, too, has
"that certain something."
Luxor products are all equally pure, and
none are costly: face-pow-
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I know purity is important. Here's
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face-powder. (Check) Rachel.
Flesh White
\dme
A ddress
(C?\
ir
ote for the Best
1 icture of the Y
ear
YOU who read Photoplay and are
interested in encouraging better and
better pictures have your annual oppor-
tunity— and in a way, duty — to encour-
age the producers who are making an
effort to give you fine pictures, big human
themes, and direction of the highest
quality.
Each year Photoplay awards a Gold
Medal for the best picture shown in the
previous year.
But you readers of Photoplay select
the winner. Your ballots tell the final
story.
You have never failed to make the
perfect choice, as you may see by turning
to the contents page in this issue, where
the best pictures of the past eleven years
are named.
Photoplay furnishes the Gold Medal
of Honor — the Nobel prize of the cinema,
made of solid gold, weighing 123} •> penny-
weights. It is two and one-half inches in
diameter, designed by Tiffany and Com-
pany, New York. But your votes are the
last word. You really award the Medal,
which is the highest honor that can be
conferred upon any motion picture com-
pany.
EACH year we ask that in selecting the
best picture you forget personalities
and consider the film as a whole, from a
standpoint of story, direction, acting,
theme, motivation and spirit.
The ballot printed below is for your
convenience. Use it.
Also you will find a list of fifty outstand-
ing films released in 1931, but that does
not mean you are limited to one of these.
You may choose any 1931 picture that
you think worthy of this highest of all
awards.
And send in your votes as early as pos-
sible.
May the most worthy picture win!
May you again be able to take just pride
in your selection! Everyone, whether he
be a subscriber to Photoplay or not,
is welcome to cast a vote.
List of Fiftv Pictures Released in 1931
Alexander Hamilton
American Tragedy, An
Are These Our Children?
Bad Girl
Blue Angel, Ttie
Champ, The
Cimarron
City Lights
City Streets
Criminal Code, The
Daddy Long Legs
Dt : :'/ to Pay, The
Devotion
Dirigible
Dishonored
East Lynnc
Star Final
Free Soul. A
Front Page, The
Guardsman, The
Huckleberry Finn
Illicit
Inspiration
Millionaire, The
Miracle Woman, The
Mother's Millions (also
tilled "The She Wolf)
! Nurse
Paid
Platinum Blonde
Politics
Public Enemy. The
Rango
Secret Six, The
Photoplay Medal of Honor Ballot
Editor Photoplay Magazine
221 W. 57th Street, New York City
In my opinion the picture named below is the
best motion picture production released in 1931.
NAME OF PICTURE
\ume-
Address.
Secd
Sin of Madelon Claudct, Tlie
Sin Takes a Holiday
Skippy
Smart Money
Smiling Lieutenant, The
Spiri: ^ame, The
Star Witness. The
Strangers May Kiss
Street Scene
Susan Lenox, Her Fall and
Rise
Tabu
Tol'able D
Trader Horn
Transatlantic
Two Hearts in Walt: Time
Waterloo Bridge
Send
in
This
Ballot
FOLLOW THE )TARS
Dorothy Jordan
Photoplay Magazine for May, 1932
e i44/t4ft- Uiu^^jn^tf
87
* DOROTHY JORDAN, as Maggie May in
M-G-M's sensational drama, "The Wet
Parade," scores a notable success. This
charming actress, one of the newer person-
alities developed by M-G-M, has also ap-
peared in "Shipmates," "Hell Divers" and
"Min and Bill." She is a southern girl,
and came to pictures from the stage.
• NEIL HAMILTON, popular M-G-M lead-
ing man, plays Rogfrin'TheWet Parade"and
appeared also as Holt in "Tarzan, the Ape
Man." He is noted in many roles as a ro-
mantic figure of the screen.
*• ANITA PAGE is one of the galaxy of
younger players launched to fame under
the M-G-M banner and has won special
note as the heroine of "Night Court." She
also scored in "Are You Listenin'?", "Re-
ducing," "Caught Short" and others.
CATALI
Look for ihr
Flying Fish
on the labtl
SWIM
SU ITS
Here are swim suits into which has been woven
the style-sense, the romance of Hollywood!
Suits not only with "fronts" that dare to be
new but with "backs" that dare to be different!
Woven of long-fibre, double-duty yarn,
specially processed to withstand sun and salt
water; cut by hand; knit to fit; styled for free-
and-easy swimming! Result? The suit clings to
the body without bag or sag; mar or wrinkle.
And colors? Here are heavenly hues that
shame the rainbow — colors with the tone and
tang of the sea! Why not drink your fill of
summer sun in the suits that are "Worn by the
Stars of Hollywood"? If your dealer does not
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that you are promptly supplied. Pacific Knit-
ting Mills, 443 So. San Pedro St., Los Angeles.
Neil Hamilton
Anita Page
Mail coupon for free "movie-style" folder
Pacific Knitting Mills, 443 So. San Pedro St., Los
Angeles. Please send me, free, your illustrated folder,
"The Swim Suit I Like Best," showing the ten lead-
ing swim suits selected for 1932 by screen stars.
NAME_
fy+ty
ADDRESS.
Zip Go Sylvia's Tresses
By
Carolyn
Van
Wyck
Here is the maiden a
lorn! Sylvia doesn't
as i
f sh<
for-
ook
iked her short
locks. Do you? You'll
know better when you see
her in "Jerry and Joan"
HOLLYWOOD faces create new styles in
beauty. Those convex foreheads, for
example. Smooth, high, rounded like a
well-fed infant's. We've always had them, of
course, but we haven't always showed them.
Even now they shatter all accepted concepts of
beauty. But they are interesting, and they are
different. Notice Joan Crawford's, for ex-
ample ! Up, up and curving decidedly outw-ard.
It does light up a face, give you something to
look at besides just the parts we usually see.
If you have such a forehead, now is the time to
capitalize on its beauty value. Just remind
your friends, if they question it, that it's a
decided facial vogue in Hollywood. That ought
to make it all right.
AND now that I've mentioned Joan Craw-
ford let me say that I never saw her about
Hollywood by day without those dark glasses,
black I think. They protect her eyes, ward off
squinting fines from brilliant light and glare.
Not a bad idea when we motor, go boating or
spend hours on the beach. Amber glasses are
quite as restful and protective for the eyes and
do not give quite as much a beetle look as black
ones do. But slip a pair in your week-end bag
or beach bag by all means.
Rl XTI.V I saw Bebc Daniels in New
- York and she told me she never liked
herself blonde. In fact, she had her tempor-
arily blonde hair dyed back to its natural color
and then let it grow out its own nice brown
way. This is a very good idea when that henna
pack or bleach hasn't turned out quite as
factorily as we hoped. Go to a good hair
specialist and have your hair dyed its own
This is one time when you won't have
to worry about the color that is growing out
next to your scalp.
38
Does this headdress worn
by Garbo in "Grand
Hotel'' presage a new
style in hair? That back
lock reminds us of the
childhood wisps our
mother tied with a ribbon
Does Spring sunshine find your
skin not quite flawless? Or
have you a little roll above
your high-waisted belt or
other beauty worries? We
have a booklet on normal
weight, a complexion leaflet,
and a special May letter tell-
ing of half a dozen new
beauty helps. Any or all are
yours for a stamped self-ad-
dressed envelope. Carolyn
Van Wyck, 221 West 57th
Street, New York City.
After eight years of long
hair Sylvia Sidney cheer-
fully says good-bye to her
tresses. She was the last
long-haired leading wo-
man on the Paramount lot
JEAN HARLOW'S natural hair, we have
' it on good authority, is a medium brown.
But Jean very likely knew what she was about
when she changed. She'd probably never have
had the masculine screengoers agog without
that silver crown. Or is it those fulsome curves ?
T\ THEN you saw "Lady with a Past" did
*^ any of you notice that little patting
attention that Constance Bennett applied
several times to her smooth curb? Appar-
ently that is a very real mannerism with Miss
Bennett, for at the El Capitan Theatre in
Hollywood and on one other occasion I saw her
do exactly the same thing. Just a little light,
reassuring pat to those back curls, just to be
sure they're all there, in place. It's a charming
gesture when hands are as lovely as Connie's.
She says she soaks her finger tips in warm olive
oil every night to keep them in good condition.
Well, it certainly works. But olive oil is a little
messy. A cuticle cream or hand cream molded
or massaged about the finger tips keeps them in
perfect condition. You do not need to sleep
in gloves, either.
X/TARLEXE DIETRICH in " Shanghai
■'■''-'■ Express " showed us something nice to
be done with a long, curled bob parted at the
side. Let the heavy side stay full and brush the
other side back to expose the ear. Miriam
Hopkins does this sometimes, too, and I saw
a young artist with hair this way at a party
the other evening. It's quite chic and a nice
little evening variation for the bob that can't
stand too much foolishness. A little brilliantine
with the aid of an invisible hairpin or two will
help keep that slim side back in place without
any obvious effort.
Photoplay Magazine for May, 1932 89
MARIAN MARSH and WARREN WILLIAM ... in Warner Bros. Feature Pro-
duction . . . "BEAUTY AND THE BOSS" . . . Max Factors Make-Up Used Exclusively.
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ew
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96% of Hollywood's stars use it!
COLO R is the secret of beauty in make-
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Powder, rouge, lipstick and eyeshadow
are now harmonized in color to emphasize
the appeal and attraction of the various types
in blondes, brunettes, brownettes and red-
heads.
The amazing difference will be instantly
apparent to you in the beauty effect created.
Each shade of face powder, for example, is
created to some living screen star type. It
is a true color harmony tone that actually
blends beauty with natural complexion col-
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composed of scientifically balanced chro-
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It creates that satin-smooth make-up
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Max Factor's rouge, lipstick, eyeshadow,
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How to Find Your Type in Make-Up
Discover how to emphasize your own
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you can really be more beautiful than you
are. Permit Max Factor to analyze your
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Max Factors Make-Up
used exclusively
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Please send me a copy of your 48 -page illustrated book, "The Nrtv Art of
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Orj_
Complexion
EYES
HAIR
SKIN
Fait-... D
Cram* . D
Medium D
Ruddy D
Olive ... 0
Blue D
Grey... n
Haz*L.D
Bro«rv.n
Black. O
LUSHES
Light. .O
Dark D
BLONDE
Light D Dark □
Dry □
Oily D
BRUNETTE
Light D Dark O
LIPS
MoialO
Dry O
BROWNETTE
Light D DarkLJ
ACE
REDHEAD
Light. G Dark D
Photoplay Magazine ton May. 1932
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IU.O D B PAT. 01
[ CONTINUED FEOM PAGE 51 ]
GIRL CRAZY— Radio Pictures
TV you don't go to see this picture you will
■■■miss a lot of your favorites — Bert Wheeler,
Robert Woolsey, Dorothy Lee. clever Mitzi
Green. Eddie Quillan, debonair Ivan LebedetT,
Arlene Judge and many more. And Mitzi
Green (lees her famous imitations of George
Arliss, Marlene Dietrich and Edna May Oliver.
COHENS AND KELLY S IN
HOLE YWOOD— Universal
T_TF.RE'S your chance to get a peek behind
-*- ■■■the Klieg lights and microphones of Holly-
wood, for the Kelly girl 'June Clyde is charm-
ing in the r61e) becomes a big silent star and
flops in the talkies, while the Cohen boy, played
by Xorman Foster, writes theme songs.
George Sidney and Charlie Murray furnish the
comedy — but the comedy is not so good as the
story idea.
THE HEART OF SEW YORK— Warners
TLTERE you have those two wisecracking
•*■ ■■■Jewish comedians. Dale and Smith, erupt-
ing nonsense at a break-neck speed; feeding
each other gag lines one right after another.
Some old but mostly new. The story is not so
hot although George Sidney and Anna Appel,
his wife, introduce some potent human inti
If you like dialogue humor done in the best
manner, see it.
MY WIFE'S FAMILY— Best Interna-
tional Pictures
TLTERE'S a sample of the humor in this one.
-*- -^Husband mistakes piano tuner for doctor.
Piano tuner talks about piano's disabilities, but
husband thinks he's discussing wife's ailments.
Yes. all the gags are as old as that!
THE FAMOUS FERGUSON CASE—
First National
A XOTHER newspaper story, another
-'^•"smashing expose of yellow journalism."
which doesn't hit "The Five Star Final'' mark,
but, by virtue of a line cast and realistic treat-
ment, is exciting entertainment. A new lad
named Tom Brown plays the city editor of a
small town newspaper and plays it remarkably
well. You'll remember him. Joan Blondell,
who doesn't have a lot to do, is peppy, as usual.
AMATEUR DADDY— Fox
THE title's misleading. This isn't one of
those sophisticated, sexy pictures. Instead
it's a whimsical, sentimental little opus. It'll
entertain, if you can imagine Warner Baxter
giving up his career as construction engineer to
mother a brood of orphaned children, the
oldest of whom is Marian Xixon. It is not very
adult entertainment, but you can safely take
the kids.
VANITY FAIR— Allied Pictures
OH, Thackeray, Thackeray, they've dressed
your . p up in modern clothes, put
her in a Rolls-Royce and elected her queen of
the gold diggers. So. if you're a little senti-
mental and still remember when the reading of
"Vanity Fair"' was a thrilling experience, you
won't like this. But if you just pretend you
never heard of the story before, go. by all
means, and enjoy Myrna Loy's sprightly act-
ing, her sensational clothes and Conway
Tearle's return to the screen.
Photoplay Magazine for May, 1932
91
CARNIVAL BOAT—RKO-Pathe
A N old time melodramer of a backwoods
-*»-lumber camp with a carnival boat thrown
in for good measure. Bill Boyd, trifling son of
an old lumber boss (Hobart Bosworth), comes
through in the final reel. But runaway trains,
log jams, and the usual fights, fail to lift it
above the mediocre.
WHY SAPS LEAVE HOME— Best Inter-
national Pictures
ENGLAND takes a broad jab at American
gang wars in this hilarious travesty. Henry
Kendall does a neat job as the Englishman who
falls heir to a Chicago beer racket. He thinks
it's a milk business until the bullets start
spattering around.
STOW AW A Y— Un iversal
A LOT of melo-melodrama on a coastal
freighter that runs between Los Angeles
and San Francisco; a lot of fuss about a dance
hall gal who is a good gal after all; and a lot of
very, very heavy villainy. It's really not so
hot. But it's the first time you've seen beauti-
ful Fay Wray on the screen in a long time.
LAW OF THE WEST—Sono Art-World
Wide
THE whole story revolves around the kid-
napping of the sheriff's small son by a
bandit who bears a grudge. Bob Steele, as the
son grown up, shoots and rides with vigor. It's
the same old gunplay and hard riding — but it's
good.
KEEPERS OF YOUTH— Best Inter-
national Pictures
THIS importation acted by an English cast
deals at great length with supposed evils of
the private school system in England. It is
not convincing.
WHISTLIN' DAN— Tiffany Prod.
YOU'LL enjoy this Western. It has a plot
above the average, plenty of thrills and fast
riding. Ken Maynard turns bandit to trap the
murderer of his pal, but it takes several reels of
exciting action to turn the trick. Joyzelle, a
well-known dancer, makes a new type of
Western heroine.
CHEATERS AT PLAY— Fox
THE emeralds! My word, who has the
emeralds? Yessir, it's about a band of
crooks and a crook who works alone, but the
love of a father for his long lost son makes
everything right. Thomas Meighan gives a
nice restrained performance and Charlotte
Greenwood does an amusing job. Linda
Watkins has a bit — how come? This picture is
not too bad but not too good.
THE BLONDE CAPTIVE— Australian
Expedition Syndicate
UP until the last reel this is an exciting
travelogue in aboriginal Australia and
worth anybody's time and money. But in the
last reel they drag in a moth-eaten blonde
woman who has been supposedly shipwrecked
and has taken up her abode with the horrible
Have a part in selecting the out-
standing motion picture that will
win the twelfth annual award of
the PHOTOPLAY Medal of Honor.
Your ballot awaits you on page 86.
AS
full of life
IN THE THIRTIES
AS IN THE TEENS
A wonderfully youthful dish
for the modern diet — " better
bran flakes "
Women and men alike refuse to grow
old today. Many a person in his thirties
is fully as active as one in his teens.
For people today take better care of
themselves. They've learned that to pre-
serve youth and charm you must keep
fit and well. And they've followed the
lead of active people in eating healthful
foods. That's why Kellogg's PEP Bran
Flakes are becoming so popular.
Nature has made an almost perfect
food for active people — whole wheat.
It's full of iron and minerals, proteins
and vitamins. It builds and nourishes.
Kellogg has made whole wheat extra de-
licious by adding the wonderful flavor
of Pep. Extra healthful because of the
bran — just enough to be mildly laxative.
Have these better bran flakes often.
Extra crisp — extra delicious.
In the red-and-green waxtite sealed
package. Made by Kellogg in Battle
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FOR THE CHILDREN — Tune in Kellogg's
SINGING LADY every afternoon except Satur-
days and Sundays at 5.30 East-
ern Time, over wjz, wlw, wbal,
KDKA,* WBZ,* VVBZA,* WCAR,
WJR. At 5.15 Central Time, KOIL,
wren, kwk ; at 6.00, wcn. Songs
and stories children love.
When available.
Photoplay Magazine for May, 1932
The more beautiful you are, the more thought and care you
should give to your looks. Facials, for instance, help you to
become more alert and magnetic. And did you know that
the daily chewing of Wrigley's delicious DOUBLE MINT is
one of the quickest and pleasantest of all Facials? Well, it is
— and is being so enjoyed by millions of beautiful women.
A IT'S A FACT — Double Mint relaxes tense
lines. That's why it's so popular in Hollywood.
looking natives. Endorsed by the National
Research Council of Australia, it is further
authenticated by a cable from Dr. Withingtoi.
which says, ''I hereby certify that story of
shipwrecked white woman rescued or adopted
by blacks is based on facts." That "based on
facts" stuS is just a bit thick. We'd like to be
shown.
TEMPEST— UFA
T7.MIL, JANNTNGS' unique characterization
-'—'adds much to the entertainment value of
this amusing comedy-drama of Berlin's under-
world. Anna Sten, the feminine lead, gives an
excellent performance. The English titles do
help, but they do not adequately explain the
story to those who cannot understand German.
THE SHADOW BETWEEN— Best Inter-
national Productions
TTHIS English picture has all the ingredients
*■ or a plot of ten years ago. Godfrey Tearle
(yes, he's Conway's brother) is falseby im-
prisoned and the little woman nobly pretends
to a crime herself in order to follow him there.
[ CONTINUED FROM PAGE 60 ]
sick, broke or in trouble. They understood
that code and believed in it.
And then came the recent illness, when Cos
collapsed in the drug-store.
While he was ill, Dolores, whom he had not
seen since before her marriage to Jack Barry-
more, sent specialists, nurses, flowers, deli-
cacies, and every possible attention was
showered upon him.
HEL EXE, from Paris, immediately cabled
her friend, Mrs. Jack Rubin, to go herself
to the hospital and see that everything pos-
sible was being done and to cable back a
report to her.
It was by Jack and Dolores that Cos was
moved as soon as possible back to his own
apartment, two days before his birthday. He
hated the bare walls of the hospital and was
happy to get back to his beloved photographs
— all that he thought he had left, until he dis-
covered that his children still loved him.
And now he is happy. His little grand-
daughter plays with him. Soon there will be
another grandchild and his tired eyes grow
bright as he says. "I want that kid, my grand-
daughter, to be the greatest actress the screen
has ever seen. She represents the fourth
gemration of the Barrymores and the third
generation of the Costellos. Why shouldn't
she be great?
"When Dolores' second baby is born I hope
that it will be a boy to carry on the Barn-
more name.
"There will be nobody to hand down the
name of Costello.
•Sure. I want those children to be actors.
I hate these people who knock Hollywood and
criticize the picture game."
FIRST his own career was taken from him.
Then he put his hopes in his daughters, and
they turned away from him. And now he is
thinking of his grandchildren as the wearers
of the theatrical crown that so rightfully be-
longs to them.
And so he sits and dreams great dreams
of the past and the future.
His doctor, who is also his personal friend,
said. "There is nothing really wrong with
Cos. The real cure of his trouble, which is
caused by worry over his inactivity, w-ould be
a big, tough role in a picture, something that
would challenge the actor in him tc give his
best to it."
Photoplay Magazine for May, 1932
93
It is a sad thing that Maurice Costello and
Florence Turner, who were among the first
to build the motion picture industry into its
enormous favor with the public, are both to-
day without work, in the very town that they
made possible.
And yet Maurice says, "I hate people who
criticize Hollywood and knock the picture
game."
A NT) now that the Barrymores and the Cos-
■* Mellos are reunited, Photoplay hopes that
as soon as he's on his feet again Maurice
Costello will be at work in a studio, showing
some of the youngsters of what trouper stuff
he is made.
Robert Richee
No, men, this picture doesn't mean
that attractive Frances Dee is out of
circulation — she's merely posing for
the feminine fans ! And how they will
goforthatClassicwhite satin gown with
its majestic train. White beading in
a Grecian key motif trims the dress
bodice, train and tulle veil. Note the
draped neckline and high bodice, girls
1.9"
^ , use lv»ry • • ■
^e8,butuse kes
these oe>v Ivory
are >vouder^
•
(goodbye to flat flakes
. . . the new thin cu/wu
Ivory Flakes are here!
Did you ever stop to think why
salespeople in fine stores every-
where advise Ivory for washing
fine fabrics?
Ivory is pure, of course — and safe
for anything that water won't
harm. That's one reason.
But here's a new reason which
salespeople are giving:
Ivory Flakes are not flat. Flat
flakes may flatten on fabrics and
not rinse off. And then what hap-
pens? A soap spot which may cause
permanent damage to a fine silk,
and loss of color when the soap is
ironed into the material.
Ivory Flakes can't stay undis-
solved. They can't flatten down.
IVORY
Kind to everything it touches
997x00% Pure
They are tiny feathery curls of soap
that fluff into suds the moment
water touches them. They won't
float on the water or flatten against
the washbowl, and then creep on
to your silk.
Even if you use the "lukest" of
lukewarm water, every tiny Ivory
curl dissolves.
Use Ivory Flakes this year for
all your summer clothes and you'll
have a fresh, unfaded wardrobe
until the season ends.
(Note: The silk shown in the above
photograph is one of the lovely new
Spring patterns of celebrated Truhu
washable printed silks.)
C 1932 P. & G. Co.
PhOiOplav Magazine fob May, 1932
more
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Screen Memories From Photoplay
Fifteen years ago Theda Bara
posed thus for the silents. Well,
Garbo did a little of it in "Mata
Hari," didn't she? Now Theda is
one of the most charming women
in Hollywood and an invitation to
her home is a cinema distinction
15 Years Ago
OUR principal story this month was a little
series entitled "Who's Married to Who."
Oh sure, we knew we were ungrammatical. but
we were more concerned with facts than gram-
mar. Not a single couple has remained married
to each other. Marjorie Rambeau was Mrs.
Willard Mack, Anna Q. Nilsson, Mrs. Guy
Coombs, and Miriam Cooper, Airs. Raoul
Walsh.
There was an interview of the style of fifteen
years ago in which Theda Bara said she had
gazed into a crystal and heard a ghostly bark
from her dead dog. There have been very few
press-agent poses for which Photoplay has
fallen and we didn't fall for that one. Of
course, Theda has given that up and now
laughs at the press-agent bunk of those days.
Well, I wish you could see Lillian and
Dorothy Gish on the tennis courts. Seymour,
come quickly and see these costumes — skirts to
ankles, long-sleeved loose smock-like coats and
enormous brimmed hats. But the Gish girls
were just that intent on the game, anyhow.
Editorially we got a little annoyed with the
censors and said, smacking our left thigh right
smartly, "Fact makes the only real fiction."
The monthly gallery pictures of folks
prominent on the screen then included Francelia
Billington, Monroe Salisbury, Doris Kenyon,
Hamilton Revelle, .Mae Murray, Franklyn
Farnum. Lillian Walker and Anita Stewart.
Pictures reviewed were Dorothy Phillips in
"Hell Morgan's Girl," Bryant Washburn in
"Skinner's Dress Suit." Mary Pickford in "The
Poor Little Rich Girl." Sarah Bernhardt in
"Mothers of France" and Harle Williams in
"Arsene Lupin," which picture Jack and Lionel
Barrymore have just re-made.
Cal York items: The high water mark seems
to have been reached in stars' salaries (voice of
today, "Oh yeah, Cal?") . . . The entire Pick-
ford family is now comfortably domiciled in
Southern California.
10 Years Ago
W/'F were proud to use "the first authorita-
W the personality sketch of Pola Negri,
cabled from Berlin for PHOTOPLAY." And the
yarn is applicable to Pola today as it was ten
years ago — "She is no adherent to artificial
dignity" — "she revels in luxury" — "she is in-
tense in her private life." The writer ended
the story by asking, "Is her future assured or
is she just a meteor?" Ten years ago Pola was
still untried in American films.
When one of our interviewers asked Lillian
Gish if she would choose a picture career if she
could live her life over again, Lillian answered,
"Xo, no, never. Work on a farm. Scrub floors.
Anything. But go through again what I have
gone through, work as I have worked — know-
ing:- I couldn't." We doubted her then. We
still doubt her.
The great Edison talked to Photoplay
writer Terry Ramsaye about the future of
motion pictures and prophesied that ten years
from then — that's now, you see — the classroom
would become a theater with pictures used to
instruct children. The prophecy is almost ful-
filled. In many schools pictures are a large
part of the curriculum.
Betty Compson graced the cover and the
gallery pictures were Madge Bellamy. Alma
Rubens, Gypsy O'Brien, Betty Francisco,
Katharine McDonald, Claire Windsor and
Edith Roberts.
The six best pictures reviewed were "For the
Defense," Colleen Moore in "Come on Over."
Norma Talmadge in "Smilin' Through." "Loves
of Pharaoh," Nazimova in "A Doll's House,"
and Constance Talmadge in "Polly of the
Follies."
Cal York items: Close friends are sure that
when Rudolph Yalentino's divorce is final he
will marry Natacha Rambova ... In spite of
persistent rumors, we don't believe that Bebe
Daniels and Jack Dempsey will marry. Were
we right? We were.
5 Years Ago
"V\ 7ELL, well, what do you think of this?
W Here we find Norma Shearer saying em-
phatically fas Norma always does). "I'm not
going to marry! I don't think a woman in my
position has any right to marry anybody! What
has a girl in my job got to give to marriage?"
How about that. Irving Thalberg?
Norma was sincere when she said those things
— she just changed her mind — that's all. In
spite of her fears she's managed to be a good
actress, a good wife and a good mother all
rolled into one beautiful package.
At the time that story was written. Norma
was a success, but along in the back of the book
we ran a story about a newcomer. Joan Craw-
ford. And we said. "If Joan Crawford is the
success that her studio insists she is goi: _-
be, it will be because of her complete feminin-
ity." Did you hear that? "// J
success." Now Joan, Norma and Garbo are the
three big attractions of the M-G-M lot.
As for Garbo, it was rumored that she and
Jack Gilbert had been secretly married in
Mexico, but we traced the story' and told you
there wasn't a word of truth in it. Garbo and
Jack Gilbert were seen at all the smartest func-
tions together and she even attended the open-
ings of her pictures and posed for our camera-
man. Norma, Joan and Garbo — how five years
have changed these three!
Mae Murray was the girl on the cover, while
the inside gallery pictures were Louise Brooks,
Marian Nixon, Greta Nissen, William (screen)
Boyd. Wallace Beery and Lois Moran.
The best pictures were "Metropolis," "Stark
Love," Dolores Del Rio in "Resurrection,"
"The Rough Riders," Gloria Swanson in "The
Love of Sunya" and Sally O'Neil and Bill
Haines in "Slide. Kelly. Slide."
Cal York items: Olive Borden says that she
and George O'Brien are not engpged . . .
Herbert Moulton is engaged to Janet Gaynor.
Photoplay Magazine for May, 1932
95
One More Garbo Fan
[ CONTINUED FROM PAGE 67 ]
has played only a few stage performances in
the Royal Theater in Sweden. There is not
the slightest uncertainty in anything she does.
She works in a direct line, she wraps herself into
her role and lives it. In the making of 'Grand
Hotel,' it was like knowing two different
people. One was Garbo. The other was
Grusinskaya, the Russian ballerina.
"Garbo is a dynamo. The physical power
she expends in her work is amazing. Nothing
is too much trouble. She literally pours
energy into her role. She is charming and
unaffected personally. She is humble in asking
the slightest favor. She is like a frightened
deer in a crowd, such as in the big lobby
scenes where hundreds of extras were work-
ing. Her timidity isn't a pose. She simply
cannot bear the staring eyes of strangers.
'""THERE is no reason in the world why Garbo
*■ should be expected to work in front of visit-
ors. It isn't like being on the stage, where one is
prepared for an audience. On a motion picture
set one is creating a role, not simply repeating
a performance. What would some portrait
artist think if his studio door suddenly were
opened and a crowd of strangers trooped in
and started to watch over his shoulder?
"Garbo is not mysterious. She doesn't try
to be. She has the courage to guard her own
privacy and I respect her for it.
"Of Garbo away from the set, outside of the
studio, I know nothing. It seems that hidden
somewhere is a more girlish person, possibly
the Gustaffsen girl, who remains away from
the glamour and fame of the Garbo person."
M
.i
tot OS
j or cJJ o u
New photos of:
Constance Bennett
James Dunn
Fredric March
Norma Shearer
Greta Garbo
Robert Montgomery
Joan Crawford
Clark Gable
Marlene Dietrich
Miriam Hopkins
Can be obtained for your
collection at twenty-five cents
each from Photoplay Maga-
zine, 919 North Michigan
Avenue, Chicago, III.
You can obtain any four of
these pictures Free with
a one year subscription to
Photoplay. Use the coupon
on page 124.
NO FACE
NEED LACK
BEAUTY...
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MY NAME-
ADDRESS—
Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PACK 39 )
Ray Jones
All dressed up and nobody to scare. Who would ever think that these nice
gentlemen are Bela "Dracula" Lugosi and Boris "Frankenstein" Karloff?
Here they look as if they were about to ask a couple of charming ladies for
the next dance. But give 'em a couple of tons of make-up and — oooh! —
those demons — do the chills chase themselves up and down your spine!
T_TOLLYWOOD is still talking about the
recent marriage of Leslie Fenton and Ann
Dvorak. The point is that nobody ever
thought Leslie would marry. When he goes to
a party women Hock around him and hang on
his ever}' word, but he has always remained
impervious. And then along came Ann and
the ardent bachelor is a bachelor no more.
"D V the time you read this Greta Nissen and
Weldon Hevburn, who is an actor being
hailed as another of the "second Clark Gables,"
may be married. And again — maybe not.
That romance has been sizzling for quite a spell
now.
'"PlIF other night a friend of mine was listcn-
ing sadly to the radio. After eighteen male
and female crooners had come through the
ether he remarked:
"Isn't it strange that all the boys arc try-
ing to be sopranos and all the girls seem to
want to he baritones?"
And it gets more topsy-turvy than ever
when you see Marlenc Dietrich going into the
swankiest tailoring shop in Hollywood to
order a man's full dress suit in white. She's
wearing it in the next picture. That same
shop creates Garbo's mannish looking clothes
— the ones she wears on the st reet .and the other
day Mercedes De Acosta, Garbo's dearest girl
i, was in the place trying on a pair of
white flannel trousers.
TPI IK old Jaek Gilbert is back. I mean Jack's
hisoldself again — wild with enthusiasm, eyes
sparkling, a friendly word for everybody. He
96
has written a screen story, one that's been
crying to be born for years, and Irving Thal-
berg has okeyed it and Jack will star in it.
Right now it's called "Downstairs" but Jack
is way up in the clouds.
Lupe V'elez, who is knocking the customers
right out in the aisles with her hot-cha per-
formance in Ziegfeld's"Hot-cha"in Xcw York,
says the romance between her and Jack is
colder than a casting director's heart.
QONNIE BENNETT is naturally
^"'thin and in order to look present-
able on the screen she has to get
plenty of rest, sleep and nourishing
food. Hubby Hank, however, would
like to reduce his girth. And that
sometimes makes trouble over the
dinner menu.
But Connie settles that in her firm
Bennett way by reminding the
Marquis that his appearance isn't as
important as hers.
It is his duty to please only one
woman — whereas Connie must look
nice for thousands of people.
rX)XXTE BEXXETT'S little adopted son,
^Peter, can be as unmanageable as any
little Johnny who ever lived. While a dis-
tracted hostess wondered just why Connie
hadn't kept her social engagement, Connie
was at home trying to be a stern mother to
little Peter.
It always ends in the usual way, with
Connie kissing away the tears and having to
do it all over again the next day.
JUST in case you have heard those rumors
that .Marie Dressier is very ill and at death's
door and have been worrying as much as
Hollywood about it — here's the answer to your
questions.
.Marie has been keeping up a social pace that
would have sent younger women to a nerve
sanitarium months ago.
She loves bridge, loves entertaining and
always has an Eastern celeb or two as her
house guest.
Marie, who is well past 60 and proud of it,
is usually worn out from her strenuous life
before she begins work on a picture, so studio
execs got together with her doctors and de-
clared, "Marie must rest!"
Marie was ordered into seclusion — no
parties, no bridge, no week-end trips to Santa
Barbara or Palm Springs. They even sent a
trained nurse down to see that Marie obeyed
orders — but that didn't last long. Maimie,
Marie's faithful maid for twelve years, took
complete charge and when friends called said
that Marie could not see anybody.
And that's how the rumors began. Parties
just aren't the same without that Dressier.
[ PLEASE TURN TO PAGE 99 ]
Acme
Hollywood didn't exactly approve of
Dorothy Mackaill's marriage to
crooner Neil Miller, so Dorothy said,
"A fig for Hollywood. I love this
man." And just to prove it she
chucked a picture job and went on
vaudeville tour with him. But don't
worry, she'll be back again on the
screen just as soon as the trip is over
tLC Q H A D D
count .
i
In the fashion picture. Of course, you
don't have to be so thin that your ribs
can actually be counted — but your foun-
dation garment must restrain your dia-
phragm flesh to give a "scooped-out" ef-
fect below the bust. MisSimplicity's famous
cross-over straps create a diagonal pull
that raises the bust, nips-in the waist,
flattens the diaphragm and abdomen.
The MisSimplicity photographed is
of Skinner's peach satin and hand-
loomed elastic, with the bust section
and flounce of fine lace. Model 9676.
i
9* fc
Mis
Simplicity
*Rcg. U.S Pat. Off. | —Pat. Allied For '
THE H. W. GOSSARD CO., Chic^o, New York. San Francisco. Dallas.
Atlanta, London, Toronto, Sydney, Buenos Aires
Division of Associated Apparel Industries, Inc.
Smartly - caped gown of pale green Canton for Helen Twelvetrees in her new
RKO- Radio Picture, State's Attorney."
The perfect texture of Skinner's
Crepes their richness and depth of
color are an inspiration in visualiz-
ing new models.''
Mrs Brock Pemberton.
Fashion Consultant,
RK.O- Radio Pictures.
. . . FOR
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TO
ADMIRE
A FEW yards of Skinner's Canton
* Crepe . . . the graceful figure of
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. . . and behold, a new gown to
be seen and admired by millions.
For their screen effects, Holly-
wood costume designers choose
only perfect materials. Favorites
with them are the softly flowing
Flat Crepes, the Crepe Satins, the
lovely crinkly Cantons and the
heavy Sheers woven by Skinner.
"look for the name in the selvage "
WILLIAM SKINNER & SONS - Established 1848
New York Chicago Boston
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Skinner's
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Cal York's Monthly Broadcast from Hollywood
CONTINUED FROM PAGE 96
Acme
A soldier of fortune back from the
wars. "If there's going to be a scrap
I'm going to see it," said Ronald Col-
man, and sailed away to far-off China
where he witnessed that famous fra-
cas from the International Settlement
OYLVIA SIDNEY has bobbed her
^hair— and PHOTOPLAY takes all
the bows for her cute appearance.
She was having some pictures made
for Carolyn Van Wyck's department
and her hair just wouldn't do what
it should.
The photographers waited for an
hour. At last Sylvia appeared. "Now
— take my picture!" she said. She
had cut her hair but she looks so
cunning that PHOTOPLAY is modestly
accepting congratulations.
T\ THEN that boat bearing Douglas Fair-
banks and all his crew to the South Seas
was ready to sail away, Maria Alba, the lovely
little Spanish girl chosen to play the lead,
stood on the dock and wept long and lustily
on Mary Pickford's shoulder.
Reason? Maria was leaving behind a brand
new and very handsome husband.
D.uring one of their many tours, Doug and
Mary were driven through the streets of
Madrid while flowers and confetti were tossed
from upstairs balconies. A certain little
Spanish girl stood watching these famous
movie stars from over the seas and dreaming
dreams.
The little Spanish senorita is the same
Maria Alba who plays Doug's leading
woman in his new picture.
\ yf ONEY to build a home was needed by the
Motion Picture Relief Fund, and needed
badly. And just when it looked as though
the Marines would never get there, up steps
little Mary Pickford with a grand idea and
the day was saved.
The production of a series of thirteen single-
reel films featuring screen stars was Mary's
bright idea and it went through. Homes of
the stars will be opened to the cameraman
and studios will unbar their gates to let the
shooting go on.
"Hollywood on Parade" is the title of the
series.
"HXIETRICH often eats in the
^"^ kitchen with her servants.
""\y"OU can get along without a wife," Tom
Mix said, just after his marriage to the
new Mrs. Mix, "but you get so doggone used
to mother-in-laws that you can't live without
'em.
"I know. I tried it. The lonesomeness gets
you. So you marry again to get a mother-in-
law in the family."
Oh, that Tom — those cowboys just must
have their little jokes. Tom is really crazy
about Mabel, but it's my hunch that one of
the reasons he married was so that his nine
year old daughter, Tomasina, would have a
mother.
"Tommy" went along when the folks got
married. The kid adores her new mama and
remained with the couple during their week's
honeymoon at Agua Caliente. While Tom
was hanging around the gambling casino with
his cronies, Mrs. Mix was with "Tommy,"
showing her the sights and buying a truck load
of gim-cracks.
[ PLEASE TURN TO PAGE 100 ]
HTALLULAH BANKHEAD with tears in
those eyes — those eyes — begs, "Please,
please don't compare me with Garbo. It
might offend her."
And then she goes and has her set barred
to all visitors, with a big policeman at the
door — just as Garbo has.
But Tallulah explains, which is more than
Garbo does, that it makes her get hot and
cold up and down her expensive spine to have
people staring at her while she's emoting.
And she adds that that's one of the reasons
"Tarnished Lady" was such a bad picture —
people looked at her while she was making it.
IT'S a funny thing about George Bancroft.
To look at that great big tough bruiser you'd
think he had the soul of a mule driver. But
George is sensitive — so sensitive in fact that
he gets the reputation for being temperamental
because of it.
For instance, he sent word that no member
of the press was to be allowed on his set during
the making of "The World and the Flesh."
Uh-huh — gone high hat again. But that's not
the reason.
George's role in the picture demands that
he be covered with grime and sweat and
sensitive George wailed, "Why, I wouldn't
let a lady see me like this. And there are so
many lady members of the press."
So the poor man not only won't allow ladies
on the set, but he covers his head with a big
overcoat whenever he walks across the lot.
Ah me, the trials of the sensitive souls are
great.
Keystone
We offer this picture as the cutest baby photograph we have ever seen.
Just after Carol Ann Priester was legally adopted by Mr. and Mrs. Wallace
Beery, she gave her new mama this great big kiss. And in case you can
drag your eyes away from that little lump of sugar, that's Wally Beery look-
ing on and feeling much prouder than a whole flock of real daddies could
99
IOO
Photoplay Magazine for May, 1932
why give Mother
MERELY CANDY, NOW THAT
<Uindon offers
MOTHER is so pleased with every mark of
your attention. So don't send just candy
on Mother's Day. Send the new, exciting gift
candy! . . . Johnston's Tableau . . . the candy
whose freshness you can see.
For Mother's Day, Tableau wears a special,
decorative wrapping. As always, though, you
see right through this wrapping— see the fresh,
delicious chocolates, while the candy remains
safely sealed from dust or careless hands.
Tableau is amazingly uncostly. Why take
chances? There is a Johnston dealer near you.
In addition to Tableau, there are many stunning
Johnston packages, specially made for Mother's
Day, filled with these same finer, fresher candies.
JOHNSTON'S CHOCOLATES. Milwaukee. W
Send free, "My 3 Smartest Bridge Parties.
Cal York's Monthly Broadcast
From Hollywood
[ CONTINUED FROM PAGE 99 ]
TPOM MIX'S honeymoon is said to have
■*■ set him back about $5,600. The new mU>us
must have everything of the best, but Tom had
just finished his first film and gotten paid for it
and was cowboy rich.
Xow that they're all settled down, Mrs. Mix
is teaching Tomasina how to do stunts on
the trapeze and Tommy is teaching her new
mother how to shoot, which sort of gives Tom
the jitters.
As usual, Tom's dressing room is the official
hang-out for all the regular guys on the lot.
Besides his make-up table — which isn't much
of an outfit — he has a boxing ring, a carpenter's
work bench and a complete si'versmith's out-
fit in his studio bungalow.
■"THEY'RE making a big fuss in Hollywood
over a girl named Gwili Andre who is to
play the leading role opposite Richard Dix in
"The Roar of the Dragon." But behind the
signing of that contract there is a story better
than the one concocted by press-agents.
A little less than three years ago she found
her way to an advertising agency looking for
work. Her father, it seems, was a banker in
Norway, but Gwili, having come to visit Am-
erica with an aunt, wanted to stay and work.
She was, at that time, tall and thin and
angular. Her clothes were anything but smart
and as she was being interviewed by one of
the executives in the agency, she stared off
into space with lack-lustre eyes. But the
executive saw beyond her appearance, and
sent her to commercial photographers.
The camera saw deeper than the eye, for
when she stepped in front of the camera the
angles of her figure changed to long, alluring
lines and her face became a mask of mysterious
beauty.
Nc
A ddress-
fit,
^5lale_
Shalitt
They say he's Hollywood's most vicious scene stealer. As far as we're
concerned Eddie Lowe can steal scenes from Garbo, if he keeps on turning
out good performances. But Lil Tashman says, "My Eddie tempera-
mental? I've got a corner on that in this family!" "Yeah?" says Eddie
with a mocking smile. And Eddie's mocker is working well, you'll admit
Photoplay Magazine for May, 1932
I OI
TN six months she was the most sought after
model in New York and her price for work
was $50 an hour.
The girl had brains, too, and made the most
of her every opportunity. She went once to
Hollywood but returned because she did "not
like the funny people." Some time during her
career as model she married a man much older
than herself and thereby became an American
citizen.
But she realized in spite of the "funny
people" in Hollywood that her natural bent
was toward the motion picture camera. So
she came back to the coast and was signed by
Radio Pictures.
Keep a sharp look-out for Gwili — she's a
smart girl who knows of what success is made.
She has charm, magnetism and mystery, and
her Norwegian accent only adds to her
glamour.
"DUTH CHATTERTON has written
a play, which may be titled "Let
Us Divorce," and the Chief High
Potentates of the Lodge of Gossip
Hounds point accusing fingers at
Ralph Forbes and shout, "So what?"
T ORETTA YOUNG is an amazing girl.
This is the first year that she has been per-
mitted on a studio set without a school teacher.
Just past eighteen, she has already had a long
career, is a divorcee and one of the most
sought after young women in Hollywood.
What is more, she is being taken up by the
intelligentsia.
It is quite the fad in Hollywood to say,
"Do you know Loretta Young? That girl
has a mind. She is a real sophisticate." To
have a mind and be a real sophisticate at
eighteen is pretty much of a something.
Loretta is as definite as a financial report.
She is perfectly poised. She always has an
answer — not a flip, smart crack, mind you,
but a good sturdy answer that invariably be-
comes a part of Hollywood repartee. She is
chic and clever at the same time.
T WONDER where she got all this. Certainly,
she hadn't the advantages of expensive
finishing schools and trips abroad. She's been
working in pictures since she was a baby,
but she actually has the same quiet charm that
very cultured women acquire after many social
contacts.
Maybe she picked it up around movie sets
or maybe she is just one of those people born
with brains. She did her first lead opposite
Lon Chaney in "Laugh, Clown, Laugh" and
lied about her age. She was just fourteen at
the time and that stormy Irishman, Director
Herbert Brenon, put her through emotional
scenes that would have given some of the
greatest dramatic actresses the heebee jeebees.
Y\7ILL ROGERS has stage fright every
time he steps before a camera. What's
more, the homespun philosopher is a tem-
peramental sort of cuss.
Whenever anybody he doesn't like visits his
set, he sulks until the offender has left. Then
he gets down to work.
"T'VE always been crazy about Garbo,"
Helen Hayes remarked recently.
"Would you like to play with Garbo, Miss
Hayes?" a newspaper woman asked.
"I'm afraid she's too much for me," little
Helen replied. "She'd put me in the shade."
And a lot of fans who saw "The Sin of
Madelon Claudet" and
ask— "Oh, yeah?"
'Arrowsmith"'rise to
*
/
,f
COLDS
FLU-GR»PpE
washing repute?4-
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102
WIN A PAIR OF
NATURAL BRIDGE SHOES
FREE
in this Screen Star Contest
Lupe Yelez
June Clyd«.
A free pair of Natural Bridge Shoes,
winner's choice, will be awarded to
every person who selects, from 12
of the new Spring models of Natu-
ral Bridge Shoes, the style most
appropriate for the individual con-
test costume worn by each screen
star pictured above.
Nothing to Buy
No Letter to Write
This contest is open to women, girls,
men, boys. Go to your nearest Natural
Bridge dealer and he will give you, free,
entry blanks and folder explaining con-
test. He will show you color pictures of
the stars in their contest costumes, and
of the 12 shoes from which you are to
select the 4 styles which in your judg-
ment are most appropriate — one for
each star.
JUDGES: Seymour, Fashion Editor,
Photoplay; Miss Elizabeth Woodward,
Associate Editor, Ladies' Home Journal;
and Mme. Hamilton Jeffries, Fashion
Editor, Boot and Shoe Recorder.
Your feet will thank you for intro-
ducing them to the EASE of Natural
Bridge Shoes. Try them on when you
visit your dealer. Stand in them. Walk
in them. Notice how light-footed and
buoyant you feel. That's the effect of
the Natural Arch Bridge, with its con-
stant, normal support for your natural
arch. You'll like the smart styles for
every occasion, and the way the com-
bination lasts (AAAA to EEE) fit your
foot and ankle.
Contest Dates — May 2 to May 25
NATURAL BRIDGE SHOEMAKERS
Lynchburg, Va. Name of Your
Nearest Dealer
Sent Promptly
Photoplay Magazine for May, 1932
A CERTAIN Los Angeles debutante has
■* *■ been making a play for Freddie March,
bombarding him with telephone calls, notes
and formal invitations, entirely ignoring Flor-
ence Eldridge,who happens to be Freddie's wife.
Recently the chiseler invited him to a
swanky week-end party which March de-
clined, as usual.
Later she met Florence at a social function
and, rushing up to her, gushed, "So sorry you
wouldn't permit Mr. March to attend my
lovely week-end party and meet all those
wonderful people."
"Mr. March always accepts his own in-
vitations," said Florence in a bitter-sweet
voice, "but only if they interest him."
r* ENE DENNIS, the psychic about
^-*whom Photoplay told you last
month, read Loretta Young's past
and future in a private room at a
party. When Loretta came out she
was crying. And she would not tell
anyone what Gene had told her.
•"THE lad who sings so sweetly in Loretta
Young's pearly ear as they dance together
is one of those wealthy Raphael boys of
New York.
Phillips Holmes claimed he knew nothing
about love — and then he learned all about it
in one lesson. Florence Rice, daughter of the
famous Grantland, is the object of his affec-
tions. She was the former wife of Sidney
Smith, who now is LilyDamita's ardentswain.
Just before Mae Clarke went to the hospital
for a long rest she was being seen around at
the local bowling alleys and bridge tables with
John McCormick, Colleen Moore's ex-hus-
band. But Mae says, "We are friends. I
hope we will always be, but I don't think there
will ever be anything more than friendship
between u-."
But Colleen Moore has arrived in Holly-
wood. Colleen is appearing on the local stage
in "A Church Mouse," which may mean that
she'll be grabbed off for a big picture come-
back.
T\7HEN Rudy Vallee and Fay Webb were
in Hollywood everybody said if those
two weren't still in love they were putting on an
act of which a Duse could have been proud.
Rudy has just bought a $100,000 man>ion in
Hollywood and he and the missus expect to
make their future home in it.
And since Mary Brian has been doing a
vaudeville tour with Ken Murray and word
wings back that those two are gazing into each
other's eyes off stage, poor Russ Gleason looks
as forlorn as a producer with a flop.
Virginia Bruce and Robert Young are hold-
ing hands.
But Irene Dunne has practically gone into re-
tirement and won't answer the phone — just to
hush up the rumors that she is going to
divorce her doctor husband who lives in New
York.
"METRO-GOLD-
WYN-M AYER
STILL OWE ME
FIFTY CENTS
FROM 'TRADER
HORN' "
AAAA to EEE
Combination Lasts
Assuring Perfect Fit ■■
^*2^=»-aK,
fYgrUF
Freulich
This very pretty but absolutely un-
known girl was the focal point of a
studio argument. Imagine the amaze-
ment of blonde, hazel-eyed Gloria
Stuart when two big companies both
pointed a finger at her and said, "We
want that girl!" Gloria had tests
made by Paramount and Universal
on the same day. Both offered a con-
tract. The Conciliation Committee of
the Academy decided that Universal
had prior rights. Gloria hasn't re-
covered from the shock. Who could?
TJ ETTY BRONSON, who plays "Peter Pan"
off screen, too, married a handsome chap,
a Heidelberg student, but a resident of Ashe-
ville, N.C. The name is Ludwig Lauerhaus.
Lily Damita sailed away to Hawaii. And
Sidney Smith was on the same boat with her —
still denying their engagement.
And Joel McCrea, who never passes up any
of those glamour gals, is beauingTallulah Bank-
head around.
While Hardie Albright signed a new long-
term contract with First National and started
going places with Gwen McCormack, daughter
of singer John, all in one week.
Jack Pickford and Mary Mulhern (that
made her Mary Pickford when she was married
to Jack) have said good-bye to wedlock.
And for the third time since their eight years'
separation, Aileen Pringle says she is going to
sue her husband, Charles Pringle, for divorce.
He lives in the West Indies.
Florence Vidor is eagerly awaiting another
visit of the stork. This will be her third child.
The first was a daughter (King Vidor was the
father) , and then there was another daughter
born to her and fiddler Jascha Heifetz.
TT isn't always a game of everyone for
himself in the commotion picture business.
When Marian Nixon was a bright shining
star she helped a little brunette high school
girl to get her first chance to play extras.
That little girl was Sally Eilers.
And Sally went to the top (witness "Bad
Girl") while Marian's star seemed to have set.
Then came Sally's turn. She reached out a
helping hand to Marian and as a result
Marian Nixon has been discovered all over
again and is going strong (witness "After
Tomorrow"). Now both girls are on the Fox
lot and rivals, in a way. But they're still
friends and it's things like that that make
cynical old eyes blur.
Photoplay Magazine for May, 1932
o t
IHOUGH GART
103
ERS MAY POP
..FINGERS CAN SNAP AT THE FEAR
OF GARTER RUNS
'(ADDERS' they call them in England. But when a
I garter run occurs at the wrong time — as it usually
does — it's apt to be called by many another name
in every possible language.
All too often the sheer chiffons that look good to the
eye don't stay long on the leg. They can't stand the
punishment.
Rollins Runstops never let the strain on stockings be-
come a strain on your purse — or your amiable dis-
position. Not even amid the arduous dawn-to-dawn
activities that Spring lets us in for. Because Rollins
positively draw the line on garter runs — a tiny red
line at the hem. And though tight garters may jerk
and pull them to the breaking point — no garter run
can pass below the dainty red Runstop.
Inconspicuous. No more than a silken chiffon lock-
stitch. Yet easy to recognize, it's the identifying
mark of the only genuine Runstop Hosiery.
ROLLINS HOSIERY MILLS, INCORPORATED
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2245
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O LACE IS DOING WONDERS
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Rollins Ail-Over Laces are exquisite adaptations
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Four numbers, each more lovely than the others.
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hosiery now in complete variety of lace motifs.
Six from which to choose.
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1 r\s
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os i<M-y
NEW SPRING COLORS AT LEADING STORES AND SHOPS
io4
When you take
a
Laxative
play safe/
J? or your health's sake, take care! Don't gam-
ble. Be safe instead of sorry in the selection of
a laxative.
Many laxatives, the doctor will tell you, are
violent in their action. Such laxatives are not
good for you — they invite after-effects that
more than nullify the temporary relief they
bring. Other laxatives are habit-forming.
What Doctors demand
of a Laxative
You will discover that the medical profession
has a very definite standard of requirements for
a laxative.
It's important, doctors say, that a laxative
shouldn't be absorbed by the system, and that
it should limit its action to the intestines.
It should not rush food through the stomach.
It shouldn't over-stimulate and irritate the in-
testines. It should not gripe. And it should not
be habit-forming.
Ex-Lax actually checks on each of these
points the doctor looks for in a laxative. That's
why physicians everywhere approve of Ex-Lax.
Ex-Lax tastes just like delicious chocolate.
Yet, it contains one of the most scientific of all
laxatives — phenolphthalein — of the correct
quality, in the correct proportion and the cor-
rect dose.
Ex-Lax is safe and gentle
— just like Nature
The next time you need a laxative, take an
Ex-Lax before you go to bed at night. You'll
like its rich, chocolaty flavor. And the
following morning, you'll like the easy, complete
way that Ex-Lax works.
Its safeness and gentleness make Ex-Lax
the perfect laxative for children as well as for
grown-ups.
At all drug stores, in ioc, 25c, and 50c sizes.
Or mail the coupon for a free sample.
Keep "regular" with
EX- LAX
— the safe laxative
that tastes like chocolate
Photoplay Magazine for May, 1932
■""PHEY say that strange things are happening
near the crypt where the remains of Rudolph
Valentino are interred.
Men and even women have recently been seen
trying to crawl through the glass window in
the rear and in some mysterious way chippings
have been taken from the vault. Attaches of
the cemetery declare several strange looking
men have been seen loitering about the crypt.
Fear has been expressed that ghouls may be
trying to steal Valentino's remains.
Double watch has been placed over his vault.
"DICHARD BENNETT had just
had a tooth root extracted from
his jaw. He was sitting, a couple of
hours after the serious job was done,
taking a sun bath when a servant
came out in the patio and tried to get
him to go to bed.
"Pulling a tooth like that is a ter-
rible shock to the system," he urged.
"A system like mine is a terrible
shock to a tooth like that," Bennett
answered.
T^OL'G, JR., was all set for a tender love
"^"'scene with Frances Dee. The lights were
placed, the director ready, the sound bell had
rung and Doug just opened his mouth to say
"I love you, dear," when zowie, a telephone
dropped off a prop mantel just above Doug's
head and the hero lay cold on the floor. He
was completely knocked out.
MAIL THIS COUPON— TODAY!
EX-LAX. Inc.. P. O. Box 170
Times-Plaza Station. Brooklyn. N. Y. A 52
Please send me a free sample of Ex-Lax.
But love in the movies must go on like the
show. They administered cold towels to the
Fairbanks' brow and Doug went on. And
when you see "Love Is a Racket," you'll think
that slightly groggy look is a great interpreta-
tion of the grand passion.
"DHOTOPLAY offers its most sin-
cere apology to Mr. Wade Chance.
In an article in the February issue
Eulalia Wilson wrote that "Michael
Farmer became the protege of Mr.
Wade Chance, a well-known Ameri-
can who died a few years ago."
Very soon after the magazine was
on the stands there came a letter
from Mr. Chance explaining gently
but firmly that he was not dead at
all and that the report had caused
his friends much pain.
We're sorry, Mr. Chance, and wish
you a long, healthy and happy life.
O ALLY EILERS and Hoot Gibson have
^ given up their cozy, swanky little apart-
ment they both loved so well. Sally decided
Hoot's little eight-year-old girl, Lois (by a
former marriage) needed a real home.
So Hoot and Sally have taken a bungalow
in Beverly Hills and Lois can have a yard to
make whoopee in and go to public school like
the other kids. Sally, who isn't too old her-
self, and Lois are having a swell time together.
Nice people, these Gibsons.
No, this is not the latest foreign arrival posing a la Dietrich— it is pretty
little Joan Marsh showing off her new polka dotted mesh stockings. Such
fancies as these are what the well-dressed leg will be showing this season
Photoplay Magazine for May, 1932
"D V rights this little item belongs to Carolyn
Van Wyck's department but maybe after
all it's better if we tell it here.
Neil Hamilton was given the lead in "The
Wet Parade." The hero is supposed to have
curly hair. Neil's hair is as straight as Marlene
Dietrich's gaze, so Neil reported to the hair
dresser every morning and endured a marcel
with ringlet ends.
Then came the California rainy season and
the harder it rained, the straighter became
Neil's hair.
So what? A permanent wave! Un-huh,
Neil sat under the hot tubes for a couple of
hours.
Presto! Hair nice and curly.
And then the sun shone and now everyone
kids Neil about the permanent.
And still there are some people who want
to be movie actors.
"TN a year he'll be as big as Clark
-•-Gable,"— that's what a lot of
M-G-M money is saying about Nils
Asther.
Over two years ago he was the
greatest potential star of them all.
Then came talkies and his accent
hindered his career. Nils was deter-
mined to learn English so he got a
job with an insurance firm and tackled
small town business men. He had to
speak understandable English, then,
to keep from being laughed at.
So now he has a new contract and
is knocking off one role after another,
with betting high that he'll be a great
success.
A XD imagine the embarrassment of Nils
Asther, the handsome Swede, when he dis-
covered, after all these years, he was born in
Denmark. Nils, whose parents are Swedes,
was born in a little town near the Danish
border as his mother was hurrying back to her
home in Sweden. And Nils was only made
aware of the fact when his birth certificate
arrived recently in Hollywood.
T\ THEN the Spanish ambassador was in-
vited to luncheon at the Paramount
studios the executives, wanting to show their
cordiality, ordered the dining room decked
out with the flag of Spain.
But the flags used turned out to be the flag
of the old monarchy.
The ambassador represents the new govern-
ment.
Wow! Leave it to Hollywood.
"D ILL POWELL has a cook, valet, butler and
chauffeur all combined in one small colored
"Jimmy." But the best thing about
Jimmy, according to Powell, is that he sings
tenor, and evenings when Dick Barthelmess
and Ronnie Colman gather at Bill's home for
a little talk and a little song, Jimmy is routed
out of bed to form the tenor end of a quartette.
And so, far into the morning, these famous
stars and a very black Jimmy send "Sweet
Adeline" wafting out upon the California
breezes, all very chummy and very gay.
HPHIS Garbo germ is catching.
"*" Now it's Ann Harding. She has
her telephone arranged so that she
can call out but nobody can call her.
""PHE National Society of Chiropodists puts
its stamp of approval on Greta Garbo.
The pedal doctors say Garbo is a swell girl
because she wears such nice big shoes.
THIS
io5
BfAUTY TfSTcoM
VINCED THE
SCIENTISTS .
"612 women, under observation of 15
dermatologists, use usual beauty
methods on one side of their faces,
and Woodbury's Facial Soap on other
side, for 30 days.
ByDB. ( )
(Nationally known dermatologist)
"The ethics of my profession forbid publica-
tion of my name. But I can tell women these
actual facts:-
"For 30 days a group of women under my ob-
servation cleansed one side of their faces with
their usual methods . . . soaps, creams, lotions
— whatever they liked . . . The other side of
their faces they washed every day with
Woodbury's Facial Soap.
"At the end of 30 days, the contrast on those
faces was startling! The cheek which had
been washed with Woodbury's was clear,
bright, firm. Smooth and fine as silk. Glowing
with life. The other cheek was sallow, dingy,
coarse-pored, in comparison.
"The results of that experiment convinced
me, as they would any scientist."
• • •
Your skin needs creams, too. But first of all,
it needs zestful cleansing with Woodbury's
for the extra tonic effect it has on the skin
glands, pores, circulation.
Would you like to see YOUR complexion
clear and fine in 30 days . . . perhaps less?
Fresh, firm, velvety soft? Would you like to
correct dry skin, oily skin, blackheads, coarse
pores, pimples?
Try then Woodbury's Facial Soap as the
directions advise. Make the Halt-face Test
yourself. Woodbury's is not just a soap. It is
a scientific beauty treatment in cake form.
IT SHOULD CONVINCE YOU
NOT JUST A SOAP ... A SCIENTIFIC
BEAUTY TREATMENT IN CAKE FORM
Tune in on Woodbury's Fridays, 9:30 P. M., E. S. T.
Leon Belasco Orchestra. WABC and Columbia Network.
COUPON FOR PERSONAL BEAUTY ADVICE
JohnH.Woodbury.Inc, 8t.7Alfred St.,Cincinnati,0.
In Canada, John H. Woodbury, Ltd., Perth, Ontario
I would like advice on my skin condition as checked,
and samples of Woodbury's Facial Soap, Woodbury's
Cold Cream, Facial Cream and Facial Powder. Also
copy of "Index to Loveliness." For this I enclose lot.
Oily Skin O Coarse Pores O Blackheads O
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© 1932, John H. Woodbury, Inc.
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CALLOUSES
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Photoplay Magazine for May, 1932
rjl'T in the Hollywoods the wise ones are
^■'pulling at their long white beards and
murmuring faintly, "What to do? What to
do?"
A man named Eugene O'Neill is the cause
of all the trouble. In a spare moment, one
day, O'Neill dashed off a little play called
"Strange Interlude," in which he had his
characters speak their subconscious minds in
elaborate asides. Now O'Neill was writing for
the theater and didn't dream that one day
Miss Norma Shearer and Mr. Clark Gable
would be immortalizing his effort in celluloid.
The problem of the studio is now, should
these asides be spoken in long shots or is the
subconscious mind worthy of a close-up? Oi,
oi, such a business. And while everybody is
making up his mind, they're shooting the
scenes both ways, which is perfectly swell for
everybody in the company, for there's no
saving when the opus will be finished.
CTRANGE are the ways of the Garbo.
Once upon a time she took no interest in
the clothes she wore in pictures and her only
comment upon the wardrobe tests of gowns —
always made by her double was, "Gott, she
looks like meV The double fascinated her
more than the clothes.
It is the right of every star to select materials
Dr Scholls Zino-pads
for screen gowns and to okay or reject the de-
j-i^'i)-. Norma Shearer has every piece of
material photographed before it is made up.
But Garbo has never cared — until now.
Although she is between pictures, Garbo is
at the studio every day getting her wardrobe
in readiness for "As You De>ire Me." Why
the sudden change? Only God and Garbo know.
CWANKY 1932 model cars are dis-
^ played along Hollywood Boulevard
in swanky show rooms. But Greta
Garbo is still driving the 1927 Lincoln
that has done more than 50,000 miles.
QUICK, folks. Man the machine guns.
-They're trying to take our Garbo and our
Maurice from us.
A bill has recently been introduced in Con-
gress to prohibit the importation of foreign
motion picture stars. All future foreign star-,
according to the proposed bill, must have merit
and distinction to get in.
Vet Garbo hadn't a nickel's worth of merit
to her name for all the American films knew.
And now look. And Dietrich's greatest suc-
cesses were made in this same land of the free.
Marie Dressier was no great shakes as an
actress in Canada. But she won the Academy
prize just the same.
«•>
High tide in beach pyjamas! The latest trick to pyjama trousers, according
to Carole Lombard, is to wear them narrower and higher. She decoratively
demonstrates the idea in this printed silk model with its "trou" legs cut
twelve inches from the floor. White, black and yellow is the color scheme
that catches the eye. Note the trick cutout effect on the bodice, too
A WRITER met Eugene O'Brien at the
theater and noticed that at intermission
time Eugene remained in his seat while all
the stars traipsed outside to the lobby.
"Why not go out with the others?" the
writer asked. "Afraid of that mob of fans?"
"No," Eugene sighed. "I'm afraid to go out
for fear no one will ask me for my autograph."
Which is kind of pitiful, isn't it?
T EAVE it to Fanny Brice.
■*-"' "Let's go to a picture,'
her
husband, Billy Rose, suggested the
other night.
"All right," Fanny agreed. "Let's
go see 'Finklestein'."
And the funny part is Fanny was
serious.
•"THAT spritely little trade paper, The Ilolly-
wood Reporter tells a beautiful yarn which
comes all the way from London.
Joseph Schildkraut, it seems, was telling a
beautiful girl that she should really go on the
screen.
She smiled, looked Joe over and said he
would be fine in pictures, too.
Quite taken a-back he answered, "But, my
dear, I am Joseph Schild'-raut."
To which the girl replied, "Oh, that's noth-
ing, you could change your name."
"V"OU have noticed, of course, that most of
the illustrations that advertise merchandise
from the best shops are adorned with smart
ladies all of whom look like Greta Garbo.
Watch the sketches from now on. Isn't
that Lil Tashman's face beneath those chic
hats and above those fine furs? The artists
say it's because the fickle public has grown
tired of Garbo's perfect features.
A LITTLE dark-eyed woman alighted from
r a train in Los Angeles dressed in the uni-
form of a Sister of Charity. A handsome
young man met the train and reverently took
the little Sister in his arms.
And all about a hurrying crowd of people
paused a moment to wonder.
For the handsome young man was Ramon
Novarro, famous screen star, but what they
didn't know was that the Sister of Charity
was Ramon's sister who had been in a convent in
Spain and had arrived in Los Angeles to serve
in a Los Angeles orphanage.
RATHER 'round, leetle keedies, and listen
^^to the strange story of Ramon Novarro's
dressing gown.
He's had it for years, got it in Europe, be-
fore he made "Ben Hur."
You figure out its age ; we always got low-
marks in arithmetic.
The poor old thing is falling about the
Novarro figure in shreds, but Ramon says
the fringed effect brings him luck and he
wouldn't give it up.
One day he was called in{o Louis B. Mayer's
office to talk about a quarter of a million
dollar contract.
When Mayer saw Ramon in the tattered robe
he went right out and bought him a beautiful
new one.
Ramon thanked him kindly, sir, and kept
right on wearing Old Faithful.
Bat during his recent visit to Papeete the
natives made him two new ones of extra heavy
linen. Ramon has been persuaded to wear
one of these — except on the first day of a new
picture.
Then he drags out his old friend.
[ PLEASE TURN TO PAGE 130 ] .
Photoplay Magazine for May, 1932
lute velez. screen star. says:
//
IO7
Enrich YOUR BEAUTy
with
Really Natural
Kou
//
Se
yOLI can have color
which seems your own
. . . hut do you? Not
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you, hut color as deep
and rich as you desire.
No great tragedy, you think, if
rouge betrays itself? Possibly
not. But that's because custom
sanctions it, and not because
your fastidious desire approves.
Then what if beholders — espe-
cially men — might actually say
of you, "she has the most mar-
velous complexion," all unknow-
ing that you used rouge. Ah,
that is a thought!
Always Complimented. Pre-
cisely this praise is the compli-
ment always paid women who use Princess
Pat rouge. Nor is it the impossible thing
it seems, judging by experience. You see
there is a curious oddity about the human
skin — never before taken into account. It
does not possess definite color. Just try to
name it. Actually the skin's tones are
neutral, a background! Too, the skin is
transparent. When Nature gives you color,
she suffuses this neutral background from
within!
How Color Comes to Life. Any harsh,
flat, color you put upon your face will
clash, inevitably. This is known in making
Princess Pat — and guarded against. There
are, in Princess Pat, neutral undertones
that come to life instantly
as they are warmed by
the skin. Too, the in-
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Princess Pat Lip Rouge a
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For it does what no other lip
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that they do not blot out the skin tones.
And so you have the secret, the scientific
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its marvelously life-like color. Thus does
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No woman living can help wanting to try
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Photoplay Magazine for May, 1932
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Liquid Winx is easy to apply. Beauty
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Old Town Canoes are perfectly balanced . . . easy
to handle . . . light . . . fast . . . strong. Honest
In lian models are made of tough cedar, covered
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It's easy to own an Old Town. 1932 prices
lowered to $63. Write fot free catalog showing
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/>i ovided on page
»Iay. I ~se blank \\
I 70 this issue.
Here's What Folks
Think About Sylvia
IT isn't often that Photoplay pats itself on the hack, bat
when we get a scoop like the aeries of Sylvia articles ire think
we can take a few bows. And when thousands and thousands
of letters come from women all over the world, telling Sylvia and
ns just what miracles have heen accomplished. we feel we are
justified in passing the good word on to you. Here are just a
few picked at random. Because of the personal nature of the
letters and because the writers did not know they were going to
be published, we have used initials only.
Articles by Sylvia, who is the most famous figure moulder of
Hollywood, have already appeared in the February. March and
April issues of PHOTOPLAY. There is one this month and
others will follow, which will solve all reducing and building-up
problems. Back copies of PHOTOPLAY may be had by writing
tbe PHOTOPLAY office at 919 North Michigan Ave., Chicago, 111.
They are twenty-five cents apiece.
SYLVIA'S articles are an answer to our
prayers. Her photo with the accusing
tinker has place of honor among our film
star collection.
We had great results from the first month.
Instead of spending our free time at tea parties,
we now do exercises.
A. C, Menton, France
I can't thank Sylvia enough for her wonder-
ful articles in Photoplay. All of us have
wanted to know her secrets and even out here
in the Middle West we have heard and read
so much about her.
I have followed her directions and have lost
about fifteen pounds and am nearly down to
my normal weight. I do feel rather silly danc-
ing around all by myself, and the whole family
goes into hysterics, but I ignore it all and keep
right on.
However, they have to admit that I never
looked so well in my life.
Every time I get discouraged with the rou-
tine. I dig out the articles and read them again
and go back to work with a giggle and a lot
more determination.
The articles are not only life savers, but they
are so cleverly written.
Nobody is paying me S30.000 a week for my
figure, but I'm getting almost that much satis-
faction out of the melting of the spare tire.
Mrs. R. T., Minneapolis, Minn.
I am a student at college and am working
my way through school and although I do tre-
mendous amounts of work, I feel physically
great — thanks to Sylvia.
R. M., San Diego, Calif.
I had been taking a size thirty girdle. The
ether day I had to buy a new one because now
I take a size twenty-eight — thanks to Sylvia.
Isn't that great?
E. R., Washington, D. C.
My clothes are all too loose since I went on
Sylvia's routine.
J. A.. New York City
Dainty footwear meant nothing to me until
Sylvia, through Photoplay, took me in hand.
Now, I confess, I no longer try to hide my
ankles. Sylvia's exercises and diet have made
them more shapely.
And I'm eighteen pounds airier.
J. F.. Dcs Moines, Iowa
I want to say how smart I think Photoplay
is to get Sylvia to write her articles in the mag-
azine.
I am using the diet and exercises and have
never felt so comfortable.
Mrs. L-. M., New York City
One month ago I bought a copy of Photo-
play. I weighed at that time 197 pounds, and
am five feet one inch tall. I did everything
exactly as Sylvia said and lost eighteen and a
half pounds in one month. Now am I going
to stop? I thank Sylvia from the bottom of
my heart.
A. S., Orangeburg, S. C.
If heaven ever sent a good angel this way,
it's Sylvia. Blessings on her. I only weighed
130 pounds but I'm now down to my normal
weight — 118. And do I feel elated !
I am sure we appreciate her as much as the
wealthy stars did, perhaps more. I shan't miss
a copy of Photoplay as long as her articles are
in it.
G. D., New York City
I am one of the fat girls, but not as fat as I
was a month ago. I really am proud of myself
for being so sincere about following Sylvia's
diet. I have a husband who likes pies and cakes
and hot breads.
Of course, Sylvia gave me enough to eat but
it was a little hard not to just taste the cake.
But I didn't. I want Sylvia to know how much
she has helped me.
All my friends are remarking on the wonder-
ful improvement. I won't be ashamed of
myself in a bathing suit this summer — thanks
to Sylvia.
.J. S., Okanogan, Wash.
Surely there is no other profession to rival
Sylvia's in bringing happiness. For to feel one-
self gradually become graceful and attractive
brings more pleasure than any other thing.
A. M., Ontario, Canada
If I hadn't read Sylvia's articles I would still
be putting ofl reducing.
E. A., Bound Brook, N. J.
Before taking Sylvia's exercises I was as stiff
as a poker and weighed 160 pounds. It is
amazing how supple I am now and I've lost
weight, too.
P. T., San Diego, Calif.
Photoplay Magazine for May, 193i
109
The Unknown
Hollywood I Know
[ CONTINUED FROM PAGE 65 ]
the public will feel — that I am a heartless
woman who never loved Kenneth.
"Could I ever explain that only because I
loved Kenneth so much it is possible for me
to love again? Don't you see what would
happen? I know it is right. I know how I feel
— inside. But could I explain? And I would
die before I would do anything to hurt
Kenneth's memory. "
"A secret marriage?" I suggested.
"Do you think it possible to get away with
that?"
"For a time, certainly," I answered. "At
least to bridge whatever period your widow-
hood should last. "
"DUT Mary put off the secret marriage for
•'-'several months after that. Eventually, she
did marry the doctor secretly and it remained
a secret until Photoplay printed the exclusive
story. I have had that thing nappen over and
over again. And every time I have inadvert-
ently stumbled on a story — just by sheer luck
— it has been when some note of sympathy be-
tween the star and me has been sounded.
It is human to talk of our troubles. The
stars are human.
The two of us were alone in her dressing-
room when I heard from Edwina Booth a
strange and fantastic tale of Africa, a tale full
of misery and unrest, that only her most
intimate friends knew. Yet we had been
strangers a half hour before.
And from Bill Powell, that apparently suave
and sophisticated man of the world, I learned
a tragic little yarn about his first marriage,
that would be a perfect short story plot.
But these are the high lights in an inter-
viewer's life. Many times there is nothing a
star has to give an interviewer. Perhaps it
isn't the right interviewer or perhaps there is
just nothing to tell. And if there be nothing to
tell, Photoplay doesn't take up its space with
a concocted story.
Again a story means just plenty of work and
very little results. I remember once working
on a yarn about the fathers of the stars.
Clara Bow's amazing dad was the first one I
tackled.
Our appointment was set in the lobby of a
florid stucco apartment house in which he
lived. He looked fantastic in those rococo sur-
roundings. He is a small man with eyes that
seem to stop in his head. I don't know whether
I can describe those eyes or not. They look
like eyes, they are the shape of eyes — but they
have no expression. You can search them and
never get beyond them.
He began to speak at once. "So you want
me to tell you something about Clara Bow,
do you? Well, I could if I would. I've been
everything to Clura Bow — father, mother,
brother, sister — everything, I tell you. And
Clara Bow's life would certainly be startling
if I ever told it. Clara Bow has never told it
straight. She doesn't mean not to tell the
truth, but she doesn't know as much about
her own life as I do. When Clara Bow tells her
life story, it's as if I said to you, 'The man
went out that door.' But you know the man
couldn't go out the door because you had put
ten men there to guard it. "
Hurriedly, I said, "Yes, yes, oh yes, indeed,
I agree with you, Mr. Bow," and the inter-
viewer went out that door as quickly as pos-
sible.
Fortunately, for my own peace of mind,
nobody had put ten men there to guard it.
"COR days I could not shake off the spell of
■*■ that little man — with his strange eyes and
his strange talk. He never called his famous
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Photoplay Magazine fob May, 1932
//
I Would Be Lost Without
Nesto Lashes,
//
saiji
J- itia Jjasquette
Your favorite actresses wear Nesto Lashes. Always impercepti-
ble, these artificial eyelashes enhance the facial features and
give the eyes an alluring charm. Made by Nestle — the origi-
nators of the permanent wave. Instantly put on or removed,
Nesto lashes are readily cleansed and can be used repeatedly.
Made in four shades — Blonde, Brown, Dark Brown and Black.
Price $1.00 per pair at your beauty shop — or if not available
there, mail in your check or money order with the coupon below.
THE NESTLE-LE MUR CO. • Dept. M • 10 East 49th St., New York, N. Y.
You may send-
-pairs of Nesto Lashes-
color,
at $1 a pair, postage prepaid, for which 1 enclose check or money order.
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PHOTOPLAY MAGAZINE
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through unknown persons Verify the credentials
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direct to Photoplay.
child " Clara " or " my daughter. " He spoke of
her only as "Clara How," as if the name were
something he must cling to. And it is my
belief that in Robert Bow lies the keynote of
Clara How's character, of which I shall tell
you later on.
Buddy Rogers' dad was the last father I
interviewed. 1 ;isked him to tell me interesting
things about Buddy — the good as well as the
bad. Gary Cooper's father had not hesitated
to say that Gary, although a fine fellow, was
a young fool about a lot of things. And Taylor
Holmes, father of Phillips, had confided that
Phil was far from being an angel. It made my
story more human and therefore more inter-
esting.
I expected the same frankness from Buddy's
father.
Instead he repeated, bewildered, "The good
as well as the bad'''
"Yes," I said, "surely Buddy has faults
like any other boy."
T—TIS face began to work curiously. "Buddy
■*■ -*-has no faults," he said. "He has never
given his mother or me one single moment's
worry or un . . . "
The word was never finished. Tears filled
the gentle eyes.
The gentle voice choked with emotion. He
could not go on.
Embarrassed at witnessing this scene, I
turned my face away and spoke about the
weather. Mr. Rogers got control of himself
and smiled sweetly upon me.
Presently I said. "What happened when
Buddy knew he had been chosen to attend the
Paramount school?"
" Well. " said the father, brightening, "before
they made tests the applicants were to furnish
character references. Buddy got five or six
letters — letters from the town banker, his high
school teacher, his Sunday school teacher, his
minister— and I wish you could have seen the
beautiful letters they wrote. They said ..."
His voice trailed away. Tears again filled his
eyes.
I saw how it was. so I arose to go. "Buddy
is a line, fine boy," he managed to say. And
I agree with him.
SO much has been written about Clara Bow
that I find it difficult to add anything to the
saga, but I do think I have a fairly accurate
picture of her. At the time when I first saw
her — it was long before the Daisy De Yoe
trial — I thought her the most unhappy human
being I had ever seen.
She could not keep her hands still and kept
running them through that ridiculous mop of
flaming red hair. She looked at me with fright-
ened eyes — trying so hard to make out what
manner of person I was, wondering if I were
friend or foe.
Clara was searching, then, for something I
that until a few years before, she did not know I
existed.
It's a pretty ephemeral hunt. Remember her I
background — remember her. a little madcap I
on the streets of Brooklyn, remember her I
horror at home, nursing a mother who. when I
she was not in her right mind, threatened Clara I
with a knife.
Clara had never known anything but her I
pitiful surroundings. Then suddenly she was I
plunged into the rich and glamorous city of I
Hollywood. And after three or four years I
there, she was just beginning to realize that I
there were things she wanted and needed — I
spiritual things, if you will — that she did not I
know before were to be had.
ONCE Victor Fleming, in defending her, I
said, "I'd rather marry a woman like Clara I
Bow — a sophisticated woman of the world — I
than any other type. "
Clara, sophisticated? Good Lord!
The poor child didn't know the meaning of I
the word. j
Oh, she did what she pleased, just as a little I
savage might. Once, at a smart swimming I
party (and Clara has attended very few fori
Photoplay Magazine for May, 1932
I I I
she is not, my dear, taken up socially in
Hollywood) the shoulder straps of her bathing
suit cut into her shoulders. Without any ado
at all, she dropped the straps. She sat there
on the edge of the pool as completely oblivious
of the — shall we say — social error, as a seven-
year-old child would have been. And when her
hostess explained that she must put up the
straps, that that sort of thing wasn't done,
not even in Hollywood, Clara demanded,
wide-eyed, "But why? The straps hurt my
shoulders. "
Clara told me once, years ago, that she
wanted a man who would think of her, a man
who would give to her and not demand always,
a man who was unselfish enough to love her
— really.
I FIRMLY believe she has found that man in
Rex Bell.
And I also know that this marriage is
Clara's chance for happiness.
It is a broad leap from the child-like, really
naive Clara to C. B. DeMille,the director, but
I know a story about him that is too good to
keep.
It is De Mille's habit to call in various
actors and actresses whom he thinks might be
suitable for the picture he has in mind and
recount the story in detail.
This is done with a great deal of showman-
ship and much seriousness. The idea is that
De Mille enacts the story in every detail while
the actress is supposed to sit by in wide-eyed
wonder at his histrionic ability. Often the
actress must listen to these recitals over and
over again and be unrewarded for her attentive
smiles and approval, for nine times out of ten
she doesn't get the part.
De Mille interviews many actresses before
he discovers the one who will exactly suit the
role. He usually ends up by taking the one he
first selected.
Before he started work on " Madame Satan, "
he called for Carlotta King, with whom he
wanted to discuss the leading role. He told her
the story from beginning to end. She listened
carefully.
When he was finished he said, " Do you
think you could play that role, Miss King? "
" Yes, " said Carlotta.
"But are you sure? Are you sure?" he asked
intensely.
"Yes, I feel sure, but in case you're in
doubt, let's make a test. "
"No," said De Mille, "not yet."
"Y"OU see, he had only told her the story
■*■ once. He would have been cut out of his
fun if he had made the test then. So he called
Carlotta back again and again to tell the story
of "Madame Satan." At last he called her for
a final interview.
He told her the plot again and this, in sub-
stance, is the story, in case you were lucky
enough to have escaped seeing the picture. A
plain little wife discovers she is losing the love
of her husband, so she masquerades as a fast
and gay vampire and meets her husband at a
masked ball.
He falls desperately in love with her and
they have a violent affair, and he actually
doesn't know that she's the wife with whom
he has lived for years.
Well, that's all right.
It's been done enough to give it at least the
dignity of years, but you must admit that it is
not exactly what you might call believable and
natural.
De Mille told it to Carlotta for the nth time.
He ended dramatically and again asked the
question, "Do you think you could play that
role?"
"Yes," said Carlotta, "yes, I think I could. "
De Mille gave her a long, searching gaze.
"No," he said, "on second thought, I don't
believe you could. I think you are too affected —
too artificial to play the woman in that drama."
Carlotta, who is anything but affected and
artificial, ran screaming from the office, took
two aspirin tablets, a music lesson and a train
for New York!
GIRLS SELDOM DANCED
WITH HIM TWICE
AT THE OFFICE HE NEVER
WAS ONE OF THE "BUNCH"
NOW HE'S A FAVORITE WITH
EVERYONE. NO MORE *B.O*
TO MAKE HIM UNPOPULAR!
HIS INVITATIONS WERE
POLITELY TURNED DOWN
ONE DAY HE
DECIDED TO TRY
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I I 2 Photoplay Magazin
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May, 1932
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Well six, if it isn't little Alice White on her trick bike, dressed for the road
and pedaling nowhere rapidly! Alice was keeping fit this way in New
York, prior to a long personal-appearance tour at a paltry $2,000 a week.
Poor little Alice! Good luck, girl. And save your money!
The Story of the Girl Who Fought Odds
[ CONTINUED FROM PAGE 59 ]
in a dark corner of the set, clapping encourage-
ment. She'll always love Colleen for the one
bit of help she received on a deadly day!
She finished the picture, and the first of her
manj- blows fell. She was let out, fired,
ditched! And soon came the first of the many
astonishing upswings that have marked the
remarkable career of this spirited sprite.
With the release of "The Sea Tiger." letters
and wires poured in from exhibitors and fans.
"My customers want more of that little White
girl." "How about some bigger parts for
Alice White? My people are wild about her."
Once more fighting up! She was re-signed —
at the same money.
Then followed one of Hollywood's strangest
PHOTOS OF YOUR FAVORITES
PHOTOPLAY'S readers are constantly asking for new photographs
of their favorite motion picture stars, and we are pleased to announce
that PHOTOPLAY has just received new pictures of the following
ten players:
Norma Shearer
Greta Garbo
Robert Montgomery
Miriam Hopkins
We are sure you will be pleased to have these pictures to add to your
collection. These prints, 8 by 10 inches, can be obtained for twenty-five
cents each, by addressing PHOTOPLAY Magazine, 919 N. Michigan
Avenue, Chicago, III. Or you can obtain any four of these pictures
Free with a one year subscription. Use the coupon on page 124.
Constance Bennett
James Dunn
Fredric March
Joan Crawford
Clark Gable
Marlene Dietrich
Photoplay Magazine for May, 1932
]I3
chapters. Stars began to loathe the sight of the
young Alice in Wonderland. She became
known as a picture-stealer of the worst stripe
— no big shot was safe from her innocent
thievery. And what a cute monkey she was!
Finally, the issue was clear. Fire her, or make
her a star. The fans doted on her, and the
good old bounce was unthinkable. So stardom
it was, and there was Alice White, dancing on
the peak and shouting "Hey-hey!"
OUT went the White pictures, and up went
the salary to $2,000 a week. But the old saw
began to bite in — the higher you go, the
tougher it gets. Young White is honest, frank
and outspoken — she calls a spade a dad-
burned, gosh-hanged shovel. Trouble brewed
and bubbled around the tousled head of the
peppery starlet.
Smoothly, politely, suavely the slaughter
began. The big boys whetted their daggers
and looked for a good spot between her
shoulder blades. Little by little, inch by
inch, White was shouldered out of the picture.
One of her last, "The Widow from Chicago,"
saw her not even billed outside theaters The
top name was that of one Edward G. P.obinson,
a Hollywood cypher.
It was his first big break — the road to "Little
Caesar" and the bulging bankbook lay straight
before him!
The head men wanted to buy off the rest of
her contract. No dice, said Alice. Her
ninety-six pounds of spirit threw them for a
loss. So the contract staggered to its close,
Alice made a couple of hurried films for
independent companies — and a big black
period seemed to mark the end of Alice White!
The end? Let's give that idea a rousing
har-har! They just didn't know the White
girl, that's all.
She had just begun to scrap.
Several courses were open. She could hang
around Hollywood, branded as a first-rate
flopperino, and pray and scrabble for any part
that reared its ugly head. She could go home
to Grandma and live softly till little Mr.
Right came along. She took No. 3. She
would make a vaudeville tour among her fan
friends — not just one of these bow-and-smirk
things, but an act that would give them their
money's worth.
Down — never out, for one fleeting eye-wink!
With all the spunk that fought her to stardom,
she hurled herself into the new venture, the
fresh career! She practised dancing till her
legs nearly fell off — she jumped the scope of
her voice from a mere peep to a real noise.
The rest is show-business history!
WITH a hot band and a sleek dancing part-
ner, she steps forth and goals the clients.
She does a waltz, she sings a comic song, she does
an acrobatic tango that threatens to tear her to
pieces. She sizzles, she sparkles, she bubbles!
Month after month she troupes — hopping up
theater receipts and pleasing the yeomanry
down front. She's on Broadway as I write
this, and they love her.
Mail pours in after her broadcasts. Her
fans are all-wool, a yard wide and true royal
blue. Juvenile autograph hounds assail her at
theatrical first-nights, and she always makes
good, for Alice is as smart as she is gallant and
vigorous — she nourishes and cherishes her
army, and they, in turn, whoop it up for her!
So high-hearted Alice White dances happily
up and down the land — Alice, and her half-
pound portion of pup, "Skippy." She loves
life and her labors and she's afraid of neither.
She will make the world her oyster, or else.
My few clinking kopecks are on this dashing
little minx who will not and cannot be whipped.
Her eyes peer over the Rocky Mountains in
the direction of Hollywood. She's waiting
for a first-rate part to poke up its head. Wham
— she'll have it, and she'll do it up brown and
piping-hot. That's my wager, and I'm for
it! How do you feel, you White people?
Could the talkies do well to grab this bit of a
girl with the courage of a fire-snorting Nubian
lion?
ALONG THE HIGHROAD OF LIFE
"And so I am to be hts uife. We
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days are so full — friends are so
kind — and be, he is wonderful. "
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Photoplay Magazine for May, 1932
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Last-Minute Fashion News
from Hollywood
by Seymour
TALA BIRELL has a new idea! If you
can't get a costume in the color you
want, dye white cloth to the desired
shade. Clever, what? The other day this
newest foreign star appeared in a sports suit
in a blue that defied cataloguing. It wasn't
any of the usual shades.
Questioned about it, Tala said it was an old
French blue and that she had the material dyed
to that exact shade. Maybe there's a tip in it
for you.
Did you knowthat those polocoatsand slouch
felt hats of Garbo's are hobbies of hers? She
collects them, has several at a time.
And speaking of Garbo, she practically
created a riot in a smart Hollywood shop the
other day when she went in to pick out a bath-
ing suit.
If you see the beaches full of one-piece white
suits, rib-knitted at the waistline and back-
less, you'll know that Garbo started it.
Incidentally, Garbo is going in heavily for
white.
She appeared in a complete white outfit the
other day — shoes and everything.
PRACTICALLY all of Hollywood has been
■*- to or through Xew York in the past few
months. The Mayfair club and the new
Pierette club are the great "reunion in Xew
York" spots for everyone. On her way back
from Europe, Janet Gaynor had a warm re-
ception there. She looked charming in a pink
lace dress that shades from a shell color to a
deeper tone. Around her neck was a long lace
scarf tied in a bow at the front with the ends
hanging down — a new note in wearing these
popular scarfs. A short lace jacket with short
sleeves banded in sable was another part of the
costume worn as she entered and later laid
aside.
Believe it or not item — stockings with a five
toe division are the latest thing to wear with
cutout open sandals. The stockings are so
sheer that the polished toenails gleam through
them.
These are designed for women who do not
like to go barelegged.
A RECEXT rainy spell of weather has
■*■ *- given the girls a chance to show off some
trick raincoats. Marlene Dietrich, who is
supposed to like to walk barefoot in wet grass,
evidently believes in bundling up for rainy
days. She stepped out in a tailored, brown
rubberized silk coat. A small brown leather hat
topped the outfit.
Lola Lane has a white raincoat with a match-
ing hat. The only touch of color is black
buttons on the coat which make a striking
accent.
White raincoats are increasingly popular in
Hollywood.
And raincoats aren't the only things that
point to a white vogue in town. White
flowers and pieces of bric-a-brac point an in-
crease of white in interior decorating. Mr-.
Somerset Maugham, wife of the distinguished
English novelist, who is a decorator herself,
is going to have an exhibit of all white pieces
while visiting in Hollywood. Both antiques
and modern pieces will be shown.
T— TOW do you feel about Ann Harding's sex
-*■ -*-appeal? If you think she needs a bit more
dash, more jc ne sais quoi, you will be glad to
know that she is being "done over" for her new
picture. Oh, nothing drastic, mind you. Just
a new hairdress, a touch more sophistication
in make-up and a whole wardrobe of new
clothes that have a certain something called
chic.
Personally I believe nearly everyone thinks
she is pretty grand as is!
How about a wool evening dress? It really
isn't as fantastic as it sounds. Wools this
season are as sheer and fine as silks. And
paradoxically, silks are trying to look as rough
as woolens! Yery sheer wool evening dresses
are fun if you like to try the unusual now and
then.
Constance Bennett wears a black and white
dotted Swiss blouse with a new tailored gray
woolen suit. Her accessories are black
which make a nice contrast with the gray.
Gray is one of those exclusive shades that
more and more of the smart stars seem to be
wearing.
■\TORE white notes — the tailored trend in
■'■"■'■screen wardrobes has brought a big vote
for white pique vestees and scarfs. The
pique scarfs, which lend a crisp touch to both
silk and wool outfits, are worn loosely tied at
the throat. Joan Crawford wears them with
her tailored suits. Ruth Chatterton wears a
clever pique vestee with a beige, fur trimmed
suit.
The vest has crossed straps which button
outside the jacket at the waistline.
Quit Those Cocktails — Sylvia
i CONTINUED FROM PACE 70
absolutely reduce you fifteen pounds in one
month. Never get more than seven hours'
sleep!
To reduce hips. Get on the floor in the
position of a Marathon runner, touching the
hands to the floor and one knee. Stretch the
other leg far back, toe pointed.
Draw that leg forward and put your weight
on it.
Progress across the floor back and forth
three times.
Gradually increase until you're walking
across the floor six times.
Feel every muscle pull.
To reduce the stomach. Lie on the floor on
your stomach with arms above your head and
legs tight together.
Roll back and forth on your stomach, hitch-
ing yourself along on your stomach, feeling all
the muscles pull.
Progress back and forth along the floor from
three to six times.
If your room is small you will have to pro-
gress as far as you can and then start over.
Substitute these exercises for the first morn-
ing exercise but keep up the dancing.
Get up and walk around for ten minutes
after meals.
FOR THIN GIRLS
General Building Up Diet
Breakfast
Big glass of orange or grapefruit juice.
Twenty minutes later
Dish of hominy with ripe sliced bananas and
certified milk and sugar.
Coffee or tea with sugar and cream.
Toast with plenty of butter and jam if you
like.
(Two hours before luncheon a big glass of
tomato juice if possible.)
Luncheon
Bowl of thick soup.
(Cream of mushroom
or
Cream of tomato
or
Cream of celery
or
Thick vegetable soup
or
Chicken okra with rice or noodles.)
Green salad and often half an avocado.
Spaghetti (with butter — allowed to melt
after the food is off the fire)
or
Egg noodles (with butter).
Chocolate or rice or bread pudding
or
Cup custard
or
Stewed fruits with cream.
Bottle of certified milk,
i In the middle of the afternoon a glass of
milk.)
Dinner
Fruit cocktail.
Soup (cream or clear).
Any sort of meat that is broiled or roasted,
and gravy; but skim off the fat — it's hard to
digest.
Two vegetables (creamed or with butter, and
put the butter on after the vegetables are done.
Use plenty).
Glass of milk.
Cup custard
or
Ice cream
or
Pudding.
(Beware of pies unless you are sure you can
digest them.)
No hot baths. Get ten hours' sleep and get
as many hours before midnight as possible.
During a lukewarm shower in the morning rub
your body briskly, concentrating on the spine
with a brush and soap for five minutes. If you
can, without feeling cold afterwards, take a
cold shower, do so, and then rub your body
hard with a rough towel for ten or fifteen
minutes, concentrating on the spine.
Don't walk too much.
At night or afternoon lie on the floor, feet in
air, and move legs back and forth in a scissors
movement. With knees close to your nose pre-
tend to be riding a bicycle.
To build up the bust take deep breathing
exercises before an open window, bringing arms
up across chest and out to right angles with
body. Also, take exercises as if you were
swimming, doing it hard, as if you were really
cutting through the water. Hold your
shoulders up.
Next month, when I give you more facial
exercises, I will review the face exercises and
massages I have already given you. For com-
plete articles that appeared in February, March
and April Photoplay write to the Photoplay
office at 919 North Michigan Avenue, Chicago,
111. They are twenty-five cents apiece.
Photoplay Magazine for May, 1932
rKuu
115
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Photoplay Magazine for May, 1932
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How Movie Babies Are Guarded
[ CONTINUED FROM PAGE 29 ]
Maria has her own personal bodyguard. And
what a bodyguard! True, he's Marlene's, too,
hut in these days of danger, Marlene has in-
structed him to devote his full time to guarding
little Maria.
The guard is one Harry Wright. He appears
officially on the books of the Dietrich menage
as "chauffeur." But he's over six feet tall, and
built in proportion. He is never without his
revolver — a revolver he has carried for years,
which he can draw and shoot with the pre-
cision of a sideshow marksman. He learned it
in British army days.
TT was while in the British service that he
-*-was chosen, because of his physique, his trust-
worthiness, his marksmanship, his bravery, to
guard Lord Kitchener — " K of K " — and later,
King Albert of Belgium when the British
assigned him to that responsibility.
Wright holds many medals for bullet-
accuracy. He has killed more men than he
knows — you see, for a time, he was on sniping
service in the World War. "And I'd rather
snipe off a few kidnappers than to have won
the war single-handed," he grins. But there's
danger behind that grin.
When little Maria plays, Wright is never far
away. He stays by; guards the baby and the
baby's nurse and governess, who is also never
absent. When little Maria is at home, asleep,
Harry Wright is in a room that immediately
adjoins the child's, has immediate access to it.
He sleeps lightly. Besides Wright, there are
available the Dietrich butler — built along
Wright's same physical proportions, and
chosen for his guard-value as well as his
buttling, and also a nursemaid who never
leaves the baby.
Perhaps the safest children in Hollywood are
the Harold Lloyd's. .Their children — the
adopted one as well as the little boy, Harold
Junior, who is the prize of the household — and
his own daughter, too, are perhaps more thor-
oughly protected than any other children in
Hollywood. Or in America, for that matter.
But as to the intimate details of the pro-
tective system that guards the Lloyd tots,
there is naturally absolute secrecy. Perhaps
this is due to the rumored receipt of a recent
note at the Lloyd home — subsequent to the
Lindy case — wherein it was written that "your
kids'll be next" or some such threat. Authori-
ties class such notes, of course, as the work of
cranks — but they are far from comforting to
parents who are as crazy about their children
as Harold and Mildred Lloyd.
These things are known, though — that
there's always a husky, armed guard in sight
when the Lloyd youngsters are at large. That
there are armed watchmen at the gate of the
Lloyd estate in Benedict Canyon, Beverly
Hills. That special guards have been sta-
tioned on the grounds recently. And that
Lloyd's dogs are famous — Great Danes,
behemoths of canines who outweigh the aver-
age man, and whose leap and fangs would tear
the throat out of any intruder they might be
set on.
Of course, not all Hollywood's parents go to
the extremes to which the more famous ones
go. Chester Morris has three huge police dogs,
trained more for watch service than as pets.
More, there's a special nurse in attendance
on his two children all the time. Since the
Lindy kidnapping she keeps closer watch on
them than ever.
ANN HARDING isn't taking any chances
with little Jane. Particularly not since the
receipt of a note, a few weeks back, which
threatened harm to the child. "Look out. they
are watching little Jane and her nurse," was the
purport of the anonymous message. Whether
from a crank, or whether the notes were from
a person who had somehow gotten an inkling of
a kidnap plot, the letter caused definite pre
cautionary measures to be taken in that hilltop
estate.
In the first place, as you can see from the air-
Any ambitious kidnapper who attempted to steal Tomasina Mix would
be carried off horizontally and full of lead. Here's Tom teaching his
girl to hit the bull's eye with her own special pearl-handled automatic.
The other picture shows Jose, a crack shot and a tough hombre in a
scrap, who guards one of the gates at Tom's house
r
ii!
Ilci
m
rtt
\'r~
1
rj
plane pictures of the Harding house, it is
accessible by only one road. And that, not
until you've first climbed a tortuous mountain
highway. To approach the house any other
way would mean the almost impossible climb-
ing of precipitous, brush-covered slopes. The
house is situated like an old-time baronial
castle.
XJOW, on that one road that leads to the
■'-^ house, two armed guards have been sta-
tioned. They're tough! Their job is to keep
anybody and everybody from getting to the
house and they do their job well. A week or two
ago, a newspaper photographer tried to take
some pictures of the Harding-Bannister house,
from a distance of several hundred feet. The
guards espied him. They gave chase, brandish-
ing guns. The photographer took to his heels.
Heels and hillside didn't go well together — and
when the to-do was over, the cameraman was
in a heap of torn clothes, broken camera, and
cuts and bruises at the foot of a hill — with no
picture of the house.
And if that happened to a man who merely
wanted to take a picture, what'd happen to one
who wanted to take Ann's baby?
There's a gate on the road to the house, at
which a guard is stationed. He has a telephone
that leads to the house. No matter who
comes, save Ann or her husband, they have to
halt at the gate, identify themselves, wait while
the guard phones the house and gets an
okay, before they can go on. Even Ann's own
sister has to halt here and be identified before
she is allowed to enter.
At night, the ground can be illumined bright
as day by asystem of floodlights, controlled from
the house. The slightest warning of any ap-
proach to the house would cause the lights to
be turned on. No would-be intruder could
escape their glare and the bullets that would
rain on him should he ignore the command to
halt.
And even beyond that, there is this ultimate
protection for little Jane. Her room is barred-
windowed, the steel bars deep-sunk in masonry!
The Malibu Beach homes are carefully
guarded. Malibu has a special beach patrol,
which aids its armed guards. And around the
entire Malibu reservation, there's a patrolled
fence to keep all strangers and intruders out
unless they can state their business.
Three attendants protect Clive Brook's
youngsters — Clive Junior, five, and Faith
Evelyn, seven. Day and night, there's a nurse
in attendance. The butler's room is next the
hildren's. The third guard is the housekeeper.
Moreover, there's a signalling device in the
nursery, which can be set off by the nurse, the
hildren themselves, or even automatically
hen an intruder tries to break in — and the din
the signal sets up would wake up not alone the
aouse, but the whole neighborhood.
OE E. BROWN has a special section of his
home allocated to his youngsters, one-year-
)ld Elizabeth, and the two boys, Don and Joe,
funior. This part of the house can be en-
ered only through a system of double doors,
hich are locked at night, so that none but
nembers of the household can come in. The
vindows are covered with a heavy uncuttable
teel wire netting which makes entrance im-
wssible, except by use of a blowtorch or a Big
Bertha. Besides all that, Joe employs a special
^tard to watch the property at night.
The Bennett children are well taken care of.
Tonstance's adopted son is never seen in pub-
ic; he is never allowed to play on the streets,
nstead, there's a patio inside the Spanish-type
louse. It's an open-air patio, around which the
louse itself (not merely a wall) is constructed,
iere is where the baby plays. And he's always
vatched by the household attendants, as well
.s by a special governess who never leaves him.
oan's little girl, Adrienne, likewise, stays at
he Joan Bennett home, under special watch
I her governess and household attendants,
rhose vigilance has been redoubled lately.
Neil Hamilton, for the added protection of
lis adopted daughter Patricia Louise, a year
Photoplay Magazine for May
I
1932
117
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Photoplay Magazine for May, 1932
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"7 The judges will be a committee of mem-
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Coupons for subsequent contests will be found in the June issue
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The Rockne Coupe and the 103 Cash Prizes will be awarded as
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PHOTOPLAY MAGAZINE
919 North Michi3an Avenue, CHICAGO, ILLINOIS
Do not forget to enclose the proper coupon shown below or
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Clip this coupon or mak * a tracing, or
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Entries for this contest must be
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1932.
May showers won't find Anita Page
with a ruined Spring bonnet. She
fares forth in a trim rubberized cor-
duroy coat and a tight fitting knitted
cap. The coat cleverly disguises its
practicality by looking exactly like the
smart tailored topcoats of the season
old, has bought a gun. He bought it after the
Lindy kidnapping had shocked parents into
greater care. He would let anyone who tries
to harm little Patricia have every bullet in it
Many of Hollywood's babies, of course, are
at private schools, where they are given the
added protection of the school personnel and
watchmen and all that sort of thing. Among
the Hollywood tots who go to private school
are Jackie Coogan who attends military acad-
emy at Ojai, some miles distant from cinema-
land ; the Swanson kiddies — and also Tomasina
Mix, at such times as her dad is away.
AS for the child-actors themselves, they are
well protected. Of course, Leon Janney and
Mitzi Green are old enough so that no precau-
tions have to be taken for them such as are
taken for helpless babies. But Bobby Coogan
for instance, is only a baby yet. And so he's
never out of sight of either his mother ot
father or a special nurse or teacher. Little
Dickie Moore's dad, who accompanies hire
always on his trips to and from the studios
and elsewhere, always carries a loaded pisto
in the car, and knows how to use it. By night
just one of Dickie's protections is a share
voiced and toothed dog. who sleeps in Di
room. Any unusual noise, even the slightest
awakens the dog.
The Lindy kidnapping has struck a measure ol
terror to the hearts of Hollywood's parents
More steel bars are being put up . . .!
Hollywood had a giggle, even if a nervous
one, over the recently published story of a
movie man notorious for his super-economy
who phoned to a builder's office the day aftei
the kidnaping.
"I want you to put iron bars over the win-
dows of my baby's room," he ordered. "How
much will it cost?"
Photoplay Magazine for May, 1932
I I
The builder's office figured; quoted seventy-
five dollars.
"I wouldn't pay a cent over fifty!'' coun-
tered the movie man.
They're still arguing about the charge, and
the windows, as yet, are unbarred.
But, back to seriousness — anyone who tried
to play baby-stealer with a Hollywood baby,
would have to combat one of the finest police
networks in the country. Los Angeles and its
surrounding populated district is covered by a
fleet of radio-equipped police cars and sheriff's
cars. The service extends to communities
many miles from Los Angeles. All cars get
instructions direct from a double transmitter
operated by the Los Angeles police depart-
ment, which broadcasts to the autos. Within
a half minute after the news of a kidnapping,
police, over a radius of a hundred miles would
be warned and be on the lookout.
\ /f OREOVER, the police radio is picked up
■"■^-by countless thousands of privately-owned
short-wave sets in homes; every radio-owner
would be a deputy searcher for such a child. Add
to that the police teletype system, which inter-
links all California police departments, up and
down the entire Coast and the breadth of the
State, over which the alarm can be flashed to
all Western police officers within a matter of
minutes.
Yeah — it'd be a swell job any kidnapper'd
pick, trying to cash in on a movie-baby. He'd
better fix things up with his mortician, first.
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Casts of Current Photoplays
Complete for every picture reviewed in this issue
"AFTER TOMORROW— Fox.— From the play
i den and Hugh S. Stange. Continuity by
Sonya Levien. Directed by Frank Borzage. The
cast: Peter Piper, Charles Farrell; Sidney Taylor,
Marian Nixon; Elsie Taylor, Minna Gombcll; Willie
Taylor, William ('oilier, Sr.; Mrs. Piper, Josephine
Hall; Malcolm Jarvis, William Pauley; Belly, Greta
• ilt; Mr. Beardsley, Ferdinand Munic-r;
Florence Bluntly, Xora Lane.
■AMATEUR DADDY"— Fox.— From the novel
by Mildred Cram. Adapted b; Doris Malloy and
Frank Dolan. Directed by John Blystone. Thi
Jamt Gladden, Warner Baxter; Sally Smith, Marian
Xixon; Louie Pelgram, Rita LaRoy; Fred Smith So. 2,
William Pawley; Olive Smith, Lucille Power-; Sam
Pelgram, Dux id Landau; Bill Hansen, Clarence
Wilson; Pete Smith, Frankie Darro; Nancy Smith,
Breslaw; Lily Smith, Gail Kornfeld; .Sam Pel-
gram, Jr., Joe Hachey; Fat Hicks, Harry Dunkinson.
•ARE VOU LISTEXIXG?"— M-G-M.— From
ory by J. P. McEvoy. Adapted by Dwight
Tax lor. Directed by Harry Beaumont. The cast:
Bill Grimes, William Haines; Laura. Madge Evans;
Sally, Anita Page; Alice, Karen Motley ; Clayton, Neil
Hamilton; Larry. Wallace Ford; George Wagner, Jean
Hcrsholt; Homy, Joan Marsh; Russell, John Miljan;
Carson, Murray Kinnell; Mrs. Peters, Ethel Griffies.
"BROKEN WIXG, THE"— Paramocnt- From
the play "Misleading Lady" by Paul Dickey and
Charles Goddard. Adapted by Grover Jones and
William Slavens McXutt. Directed by Lloyd Corri-
gan. The cast: Lolita, Lupe Yelc-z; Cap!. I nnocencio,
Leo Carrillo; Phil Marvin, Melvyn Douglas; Farley,
George Barbier; Cross, Willard Robertson; Justin
Bailey, Arthur Stone; Maria, Soledad jiminez;
Cecilia, Claire Dodd; Pancho, Pietro Sosso; Bassilio,
Julian Rivero.
"BUT THE FLESH IS WEAK"— M-G-M.— From
the story "The Truth Game" by Ivor Xovello.
Adapted by Ivor Xovello. Directed by Jack Conway.
The cast: Max, Robert Montgomery ;i?osinf, Eleanor
Gregor; Lady Joan. Heather Thatcher; Sir George,
Edward Everett Horton; Florian, C. Aubrey Smith;
Prince Paul, Xils Asther; Duke of Hampshire, Fred-
erick Kerr; Lady Ridgway, Eva Moore; Gooch, For-
rester Harvey; Findlcy, Desmonds Roberts; Harris,
Doris Lloyd.
"CARELESS LADY"— Fox.— From the story by
Reita Lambert. Adapted by Guy Bolton. Directed
by Kenneth MacKenna. The cast: Sally Brown, Joan
Bennett; Stephen Illinglon. John Boles; Yvelte, Minna
Gombell; Jin! Carry, Weldon Heyburn; Ardis Dela-
field, Xora Lane; Luis Pareda, Raul Roulien; Trow-
bridge, J. M, Kerrigan; Hank Oldfie'.d, John Arledge;
Cop, William Pauley; Judge. James Kirkwood;
Roderiguez, Fortunio Bonanova; Aunt Cora, Josephine
Hull; Aunt Delia. Martha Mattox; Mrs. Carluright,
Maude Turner Gordon; Konslanlos, Andre C heron,
"CARNIVAL BOAT" — RKO- Pa the.— From the
by Marion Jackson and Don Ryan. Screen play
by James Seymour. Directed by Albert Rogell. The
cast: Buck Gannon, Bill Boyd; Honey. Ginger
-; Hack. Fred Kohler; Jim Gannon, Hobart
Bosworth; Babe. Marie Prevost; Baldy. Edgar Kens
nedy; Stubby. Harry Sweet; Lane, Charles Sellon; De
Lacey, Walter Percival; Assistant lo De Lacey, Jack
Carlyle; Windy, Joe Marba; Jordon, Eddie Chandler;
Bartender, Bob Perry.
"CHEATERS AT PLAY"— Fox.— From the
story by Louis Joseph Vance. Screen play by Mil
colm Stuart Boylan. Directed by Hamilton Mac/
Fadden. The cast: Michael Lanyard, Thomas
Meighan; Mrs. Fay Crozier. Charlotte Greenwood
Maurice Parry. William Bakewell; Freddie Asquith,
Ralph Morgan; Senno Crozier, Barbara Weeks; Tess
Boyce. Linda Watkins; Wally. William Pi
Secretary, Olin Howland; Detective Crane, James Kirk,
wood; Captain. Anders von Haden; Strong Arm Algy
Dewey Robinson.
"COHEXS AXD KELLYS IX HOLLYWOOD'
— UNIVERSAL. — From the story by Howard J. Green
Directed by John Francis Dillon. The cast: Moi
Cohen, George Sidney; Michael Kelly, Charlie
Murray; Kitty Kelly. June Clyde; Maurice Cohen
Xorman Foster; Mrs. Cohen. Emma Dunn; Mrs
Kelly, Esther Howard; Magazine Writer. Eileei
Percy; Chauncey Chaduick, Edwin Maxwell; Mrs
Chadwick, Dorothy Christy; Solarsky. Luis Alberni
Gregory Gordon, John Roche; Chtslerfield, Robert
Greig.
"CROWD ROARS. THE"— Warners.— Frorr
the story by Howard Hawks. Adapted by Seton I
Miller. Directed by Howard Hawks. The cast: Jot
Greer, James Cagnev; Anne, Joan Blondell; Lee. Ant
Dvorak; Eddie Greer, Eric Linden; Dad Greer, Gui
Kibbee: Spud, Frank McHugh; Bill, William Arnold
Jim, Leo Xomis; Mrs. Spud Smith, Charlotte Merri
am; Auto Drivers, Harry Hartz, Ralph Hepburn, Fret
Guisso. Phil Pardee, Spider Matlock, Jack Brisko anc
Fred Frame.
"DANCERS IX THE DARK"— Paramount. -
From the story by James Ashmore Creelman
Adapted by Brian Marlow and Howard Emmeti
Rogers. Directed by David Burton. The cast
Gloria, Miriam Hopkins; Duke, Jack Oakie: Floyd
William Collier, Jr.; Gus. Eugene Pallette; I-anny
Lyda Roberti; Louis, George Raft; Max, Maurict
Black; McGroady, DeWitt Jennings; Benny, Pau
Fix; Spiegel, George Bickel; Ruby, Frances Moffett
"DESTRY RIDES AGAIN"" — Universal. -
From the story by Max Brand. Screen play b>
Isadore Bernstein. Directed by Ben Stolon".
"OTTO, WHY DON'T YOU WAX YOUR MUSTACHE LIKE
ADOLPHE MENJOU?"
Photoplay Magazine for May, 1932
cast: Deslry, Tom Mix; Sally, Claudia Doll; Brent,
Earle Foxe; Wendell, Stanley Fields; Clifton, Fred-
crick Howard; Willie, George Ernest; Coach Passen-
gers, ZaSu Pitts, Andy Devine; Judd Ogden, Francis
Ford; Tony, Tony, the wonder horse.
"DEVIL'S LOTTERY"— Fox.— From the novel
by Nalbro Bartley. Screen play by Guy Bolton.
Directed by Sam Taylor. The cast: Evelyn, Elissa
Landi; Jim Meech, Victor McLaglen; Slephen'Alden,
Alexander Kirkland; Beresford, Paul Cavanagh;
Maitland, Ralph Morgan; Joan, Barbara Weeks;
Mrs. Meech, Beryl Mercer; Butler, Herbert Muiiflin;
Lord Litchfield, Halliwell Hobbcs; Maid, Ruth War-
ren; Pearson, Wyndham Standing; Inspector Avery,
Lumsden Hare; WhiU'aker, Montague Shaw.
"FAMOUS FERGUSON CASE, THE"— First
National. — From the story by Granville Moore and
Courteney Terrett. Adapted by Harvey Thew and
Courteney Terrett. Directed by Lloyd Bacon. The
cast: Maizie Dickson, Joan Blondell; Bruce Foster,
Tom Brown; Tony Martin, Adrienne Dore; Cedric
Works, Walter Miller; Perrin, Leslie Fenton; Mrs,
Marcia Ferguson, Vivienne Osborne; Claude Wright,
J. Carroll Naish; Ferguson, Purnell Pratt; Ruslj
Callaghan, Russell Hopton; Parks, Kenneth Thomp-
son; Martin Collins, Grant Mitchell; Dad Sipes,
William Biirress; Kaplan, Maurice Black; Craig,
Russell Simpson; Judd Brooks, Leon Waycoff;
Lindsay Jamieson, Clark Wallis; O'Toole, Dick
Curtiss"; Mrs. B)ooks, Miriam Seegar; Fire Chief, S.
Charters; County Attorney, Clarence Wilson; Sheriff,
Willard Robertson; Bridges, Fred Burton; Minnie
Moody, Jean Barry; Eddie Klein, Bert Hanlon; Jigger
Bolton, George Meeker.
"GIRL CRAZY" — Radio Pictures. — From the
story by John McGowan and Guy Bolton. Adapted
by Herman Mankiewicz. Directed by William
Seiter. The cast: Jimmy Deegan, Bert Wheeler; Slick
Foster, Robert Woolsey; Danny Churchill, Eddie
Quillan; Patsy, Dorothy Lee; Tessie Deegan, Mitzi
Green; Kate Foster, Kitty Kelly; Molly Gray, Arlene
Judge; Ivan Borloff, Brooks Benedict; Lank Sanders,
Stanley Fields; Mary, Lita Chevret; Pete, Chris Pin
Martin.
"GRAND HOTEL"— M-G-M.— From the story
by Vicki Baum. Continuity by Hans Kraly.
Directed by Edmund Goulding. The cast: Grusins-
kaya, Greta Garbo; Flaemmcken, Joan Crawford;
Preysing, Wallace Beery; Baron, John Barrymore;
Kringelein, Lionel Barrymore; Doctor, Lewis Stone;
Senf, Jean Hersholt; Meirheim, Robert McWade;
Zinnowilz, Purnell Pratt; Pimenov, Ferdinand Gotts-
chalk; Suzetle, Rafaela Ottiano; Chauffeur, Morgan
Wallace; Gerslenkorn, Tully Marshall; Rohna, Frank
Conroy; Schweiman, Murray Kinnell; Dr. Waltz,
Edwin Maxwell.
"HEART OF NEW YORK, THE"— Warners.
— From the story "Mendel, Inc." by David Freeman.
Adapted by Arthur Caesar and Houston Branch.
Directed by Mervyn LeRoy. The cast: Shtrudel, Joe
Smith; Schnaps, Charles Dale; Mendel, George
Sidney; Mrs. Mendel, Anna Appel; Lillian, Ruth
Hall; Bessie, Aline MacMahon; Mimi, Marion
Byron; Mrs. Nussbaum, Ann Brody; Jakie, Harold
Waldridge; Milton, Donald Cook; Gassenheim, Oscar
Apfel; Marshall, George MacFarlane; The Butler,
Charles Coleman.
"IT'S TOUGH TO BE FAMOUS"— First
National. — From the story by Mary McCall, Jr.
Adapted by Robert Lord. Directed by Alfred E.
Green. The cast: Scotly, Douglas Fairbanks, Jr.;
Janet, Mary Brian; Edna, Lilian Bond; Sanford,
Terrance Ray; Boynton, Oscar Apfel; Moms, Emma
Dunn; Chapin, Walter Catlett; Lieut. Blake, J.
Carroll Naish; Steve, David Landau; Sutter, Harold
Minjir; Mrs. Porter, Claire McDowell; Ada, Louise
Beaver; Ole Olafson, Ivan Linow.
" KEEPERS OF YOUTH"— Best International
Pictures. — From the story by Arnold Ridley.
Adapted and directed by Thomas Bentley. The cast:
Knox, Gary Marsh; Gordon Duff, John Turnbull;
David Lake, Robin Irvine; Slade, O. B. Clarence;
Sullivan, Herbert Ross; jarvis, Vaughan Powell;
Milliient, Ann Todd; Matron, Ethel Warwick; Henry
Venncr, John Hunt; Mrs. Venner, Mary Clare; Mr.
Vcnner, Ma.fhew Boulton.
"LAW AND ORDER"— Universal.— From the
story by W. B. Burnett. Adapted by John Huston.
Directed by Edward Calm. The cast: Frame John-
son, Walter Huston; Ed. Brant, Harry Carey; Dead-
wood, Raymond Hatton; Judge Williams, Russell
Simpson; Wall Northrup, Harry Woods; Poe Norlh-
rup, Ralph Ince; Kurt Northrup, Richard Alexander;
Win Elder, Alphonse Ethier; Johnny Kinsman, Andy
Devine; Ed. Deal, Dewey Robinson; Lanky Smith,
Walter Brennon; The Parker Bros., Nelson McDowell
and D'Arcy Corrigan; George Dixon, Arthur G.
Wanzer.
"LAW OF THE WEST "— Sono Art-World
Wide. — From the story by Robert N. Bradbury.
Directed by Robert N. Bradbury. The cast: Boh
Ca/rulhers, Bob Steele; Sally Tracy, Nancy Drexel;
Lee Morgan, Ed. Bradv; Dan Carrulhe/s, Hank Bell;
Tracy, Charles West; Butch, Earl Dwire; Buck, Dick
Dickinson; Mrs. Carrulhers, Rose Plummer.
"MIRACLE MAN, THE"— Paramount.— From
the story by Frank L. Packard and Robert H. Davis.
Adapted by Waldemar Young. Directed by Norman
McLeod. The cast: Helen Smith, Sylvia Sidney; John
Madison, Chester Morris; Bohhie, Robert Coogan;
The Frog, John Wray; Harry Evans, Ned A'. Sparks;
The Patriarch, Hobart Bosworth; Thorn/oh, Lloyd
Hughes; Margaret Thornton, Virginia Bruce; Nikko,
121
Brimming with energy!
Photo specially posed by
Mr. Larry Regan
Once thin
-easily tired
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Read how he gained
new flesh, new pep — quick!
HE KNOWS what it is to lose weight, to
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a lifetime of ill health. His days and his
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He couldn't even climb the stairs with-
out resting halfway — yet today he runs
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Ask this lucky fellow where he got all
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And here's what he'll say:
Reveals his secret
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213, Baltimore, Md. This is only one of
hundreds of equally fine reports from
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In times like these, it means dollars and
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to winning health and energy!
It takes seven pounds of specially cul-
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I 22
NATURALNESS IN MAKE-UP
To be natural after using make-up was her
problem before she discovered Phantom lied
Lipstick and Rouge. Now she uses Phantom
Red Lipstick and Rouge, and knows her
make-up is so natural that it enhances the
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detract from the effect of naturalness.
You, too. will like the transparency of
Phantom Red Lipstick and Rouge, that con-
tains that phantom, true lite color that blends
with all complexions. Change tomorrow, and
see the difference in Phantom Red Lipstick
and Rouge. Endorsed and sold by thousands
of Beauty Specialists, also Department and
Drug Stores.
Send 20c for PHANTOM RED Test Set
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"My Clear White Skin
Captured Him!"
MEN who instantly shy away from girls
with dull, dark skin are irresistibly drawn
to smooth, white beauty. A hint for you! For
this new discovery, Golden Peacock Bleach
Cream, whitens the most roughened, muddy
complexion one shade a night — or your money
back! Quickly banishes freckles, blackheads,
pimples, blotches — safely. Golden Peacock acts
so fast — you use so little — it's more economical
than all other bleaches that work. Try a jar to-
day. At all drug stores and toilet goods counters.
Photoplay Magazine for May, 1932
Karloff; Henry Holmes. Irvinx Pichel; Hiram
, Betty, Florine Mi Kinney;
.'v. Erne Busier; Parker. Lew Kelly; Ticket
Seller, Sherry Hall.
"MY WIFE'S FAMILY"— Best International
Pictures. — Screen adaptation by Ered Duprez and
Val Valentine. Directed by Monty Banka Thi
Jack Cay, Gene Gerrard; Peggy, his wife, Muriel
Angelus; Arabella, his mother-in-law. Amy V(
Noah Nagg, his father-in-law, Charles Pa ton; Ima, his
tisler-in-ltm. Dodo Watts; Willie, his brother-in-law,
Helmore; Sally, Molly Lamont; Dolly White,
Ellen Pollock; Doc Knott, Jimmy Godden.
"PLAY GIRL" — Warners — From the story by
Frederick Hazlett Brennan. Adapted by Maude
Fulton and Brown Holmes. Directed by Ray
Enright. Ti er, Loretta Young: Georgine,
Winnie Lightner; YVallie, Norman Foster; Finkelwald,
Guj Kibbee; Mar tie, Noel Madison; Ethel. Polly
Walter-; Ruth, Dorothy Burses; .Urn. Mae Mai
Rase, Eileen Carlisle; Arlene, Rene Whitney; Elmer,
Ellison; Moffat, Edward Van Sloan; l<>-cent
Woman, Elizabeth Patterson; The RenoCirl, Adrienne
Dore; Bridesmaid. Velma Gri Carpenter,
Jack Curtis; Mrs. Braddock, Betty Barrington; Floor
Boy, Robert Bennett; Messenger, Harold Waldridge;
Floorwalker, Charles Coleman; Dance Hall Plumber,
Xat Pendleton.
"SCARFACE" — United Artists. — From the
novel by Armitagc Trail. Screen play by Ben Hecht.
Directed by Howard Hawks. The cast: Tony
Camonte, Paul Muni; Cesca. Ann Dvorak; Poppy,
Karen Morley; Lovo, Osgood Perkins; Cuarino, C.
Henry Gordon; Rinaldo, George Raft; Publisher,
Purnell Pratt; Angtlo, Yince Barnett; Mrs. Camonte,
lues Palange; Costilla, Harry J Vejar; Chief of
Detectives, Edwin Maxwell; Gaffney, Boris Karloff;
Managing Editor, Tully Marshall; Pielro, Henry
Armetta; Epstein, Bert Starkey.
"SHADOW BETWEEN. THE"— Best Intf.r-
. \l Pictures. — From the story by Dion
Titheradge. Scenarist Norman Walker. Directed by
N'orman Walker. The cast: Paul Haddon, Godfrey
Tearle; Margaret, Kathleen O'Regan; Nell Baker,
Olga Lindo; Windier, Henry Caine; Detective-Sergeant
Blake. Henry Wenman; "Pug" Wilson, Arthur
Chesney; Mrs. Maddox, Mary Jerrold; Rev. Simon
Maddox, Hubert Harben.
"SO BIG" — Warners. — From the story by Edna
Ferber. Adapted by J. Grubb Alexander and Robert
Lord. Directed by William A. Wellman. The cast:
Selina Peake, Barbara Stanwyck; Roelf, George
Brent; Dirk (as a boy), Dickie Moore; August Hemple,
Guy Kibbee; Dallas O'Mara, Bette Davis; Julie
Hemple, Mae Madison; Dirk (grown), Hardie Al-
bright; Simeon Peake, Robert Warwick; Jan
Arthur Stone; Pervus Dejong, Earle Foxe; Klaas Pool,
Alan Hale; Maartje, Dorothy Peterson; Selina (as a
little girl), Dawn O'Day; Roelf [1-f years), Dick
Winslow; Adam Ooms, Harry Beresford; Mrs.
Hemple, Eulalie Jenson; Mrs. Tcbbits, Elizabeth Pat-
terson; Paula, Rita LaRoy; Widow Paarlenburg,
Blanche Frederici; The Doctor. Willard Robertson;
Maiden Aunts, Martha Mattox, Emma Ray; Jacob,
SUBSCRIBE FOR
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NUMISMATIC CO., Dept. 75, Ft. Worth, Tex.
Olin How-land; The General, Andre Charon; Country
Harry Holman; Reverend Dekker, Lionel
Bel more.
"STOWAWAY"— Universal- — From the story
by Norman Springer. Directed by Phi! Whitman.
The cast: Mary, Fay Wray; Tommy. Leon Waycoff;
Groder, Montagu Love; Maikie, Lee Moran; Steward,
Karns; Captain, James Gordon; Tony,
Maurice Black; Madge, Betty Francisco.
"TEMPEST" (Sturme der LeidensciiaftI —
UFA. — Directed by Robert Siodmak. The
Gustav Bumke, Emil Jannings; Annya, Anna
Willy, Irranz Nicklisch; Ralph. Anton Pointner; I he
Detective. Otto Wernicke; Paul, Julius Falkenslein.
"VANITY FAIR"— Allied Pictures.— From-
the story by William M. Thackeray. Screen pla> by
F. Hugh Herbert. Directed by Chester M. Franklin.
The cast: Becky Sharpe, Myrna Loy; Re
Crawley, Conway Tearle; Amelia Sedley, Barbara
Kent; George Osborne, Waiter Byron; Dobbin. An-
thony Bushell; Joseph Sedley, Billy Bevan; The
Marquis of Steyne, Montagu Love; Mrs. Sedley. Mars-
Forbes; Mr. Sedley, Herbert Bunston; .Sir Pitt
Crawley, Lionel Belmore; Polly, Lilyan Irene.
"WET PARADE"— M-G-M.— From the novel by
Upton Sinclair. Screen play by John Mania.
Directed by Victor Fleming. The cast: Maggie M.iy,
Dorothy Jordan; Paw Tarlelon. Walter Huston; Mr.
Chilcote, Lewis Stone; Kip, Robert Young; Roger,
Neil Hamilton; Abe Schilling, James Durante; Jerry,
Wallace Ford; Eileen, Myrna Loy; Doleshals. John
Miljan; Evelyn, Joan Marsh; Mrs. Tarlelon.
Blandick; Mrs. Chilcote, Emma Dunn; Judge Bran-
don, Frederick Burton; Major Randolph. Reginald
Barlow; Mr. Forlesque, Forrester Harvey; Dick. Ben
Alexander; Mrs. Twombey. Cecil Cunningham; i
Clarence Muse; Moses, John Larkin.
"WHISTLIN' DAN"— Tiffany Prod.— From
the story by Stuart Anthony. Directed by Phil
Rosen. The cast: Dan, Ken Maynard; Car'
Joyzelle; Karloff. Georges Renavent; July, Harlan E.
Knight; Bob, Don Terry.
"WHY SAPS LEAYE HOME"— BEST INTER-
NATIONAL PICTURES.— From the story by
J. W. Drawbell and Reginald Simpson. Adapted by
Lupino Lane and Leslie Arliss. Directed by Lupino
Lane. The cast: Percy Lloyd, Henry Kendall; Betty
Woods, Betty Norton; Lil, Margot Graham
Guinan, Binnie Barnes; Tony Costello, Bernard
Nedell; Spike Guinan, Ben Weldon; Gangsters,
Wallace Lupino. Cyril Smith. Ernest Sefton
Bernard, Charles Farrell, Maurice Beresford, Val
Guest.
"YOUNG BRIDE"— RKO-Pa the.— From the
stage plav by Hugh Stanislaus Stange. Adapted by
Garrett Fort. Directed by William Seiter. The cast:
Allie Smith. Helen Twelvetrees; Charlie Riggs, Etic
Linden; Maisie, Arlene Judge; Pete, Cliff Ed
Mike, Roscoe Ates; Daisy. Polly Walters; Miss
Gordon, Blanche Frederici; Sheets, Allan Fox.
Bert Longworth
Once upon a time Florine McKinney was a Fort Worth, Texas, high school
girl who had nothing to worry about but passing her algebra examination.
But now that she's a Paramount contract player and will have the lead in
"Horse Feathers," the new Marx Brothers' comedy, she has to worry her
head thinking up goofy poses for the cameraman. A cute little trick
Photoplay Magazine for May, 1932
12
"Annie, the Moom-Pitcher Starr
Havana from the air. But a revolution of sorts
was in progress that morning and it was
deemed too dangerous to try. But Ann wanted
to go up.
"Well. I'll tell you," an official finally said.
''You go up between 10:30 and 11, and I
promise no one will shoot at you."
SO at 10:30 Ann was flying over Havana and
to her intense disappointment not a shot
was fired. Even once.
"Calm, isn't she?" a writer remarked the
other day after watching Ann sit quietly at her
book.
Calm! This calmness of Ann's is just on the
outside.
Inside she lives. Grand, tumultuous adven-
ture.
A friend tells her of going to a far-off coun-
try.
"And it's an odd thing," Ann says, "but
instantly I can see the strange faces. Feel the
breeze, smell the queer smells. I've been there.
Inside."
"Let's hurry to the field," Harry will say.
"Fifty airplanes are coming, in formation."
And Ann hears the whir of the motors, the
planes coming by threes, by fours, feels the
excitement. And lives it. Inside.
Calm! Huh!
Trouble was brewing before the shooting of
"Devotion." Robert Milton, the director, was
sent to Ann's home as a sort of ambassador.
Ann says, not knowing just which side of the
fence Mr. Milton may have parked his hat, she
[ CONTINUED FROM PAGE 45 ]
decided to be ill. She grabbed a bed jacket,
coughed as no dying person ever managed to
cough before, and in came Mr. Milton. Im-
pressed no end.
"So sorry your mummy's sick," he said to
little Jane who was ;standing by her mother's
bedside.
"Oh, she isn't sick," Jane replied. "She's
only acting."
And Ann said she sank back in a complete
state of coma. But she did gain her precious
lines of dialogue.
Ann Harding today is in a spot. She knows it.
And frankly and openly says the picture career
of Ann Harding as a person is over. Just
movies with Ann Harding will complete her
career.
The little word "shall" in a contract that
Ann thought ironbound in the matter of story
choice, has turned out to be a "may." Against
her pleadings, her begging, "Prestige" was
made. And here, more than in any other in-
stance I know, comes to light the fair, square
and honest good sportsmanship of Ann
Harding.
Loathing it, disbelieving it, she went into
"Prestige" and gave every ounce of talent and
ability she had. Those who know watched the
hours and hours of overtime, the rehearsing for
hours with Melvyn Douglas, taking tests with
minor players so they might get the "feel" of
the action.
Thus, Ann Harding came to "Prestige." All
stories to the contrary.
More than just cases of cool drinks on hot
afternoons for all the helpers, of taking ill
friends to her own home to nurse — more than
all these does Ann Harding prove her splendid
good sportsmanship by her giving and giving
to something in which she has no heart.
And so, with the little "may" instead of
"shall," Ann has come to the crossroads of her
life as a moving picture actress. Others, as
great as Ann Harding, have come to the same
crossroads. Some have held on. Some have
gone.
But the strangest thing of all is Ann's ability
to see the other side.
"f"\F course they must make money. Of
^-'course," Ann says, "I understand how
they feel. But I wanted people to feel that an
Ann Harding picture story was something
Ann Harding felt. And now that I can't, I
feel as if I had let them down."
And so to her knitting. • Pink bedjackets,
pale blue sweaters, anything, she knits. To
keep from thinking.
A certain producer sent for Ann recently.
"What do you think of this story, Miss Hard-
ing?" he asked.
Ann read it carefully.
"Well, pine trees just can't grow from
petunia seeds," she announced.
"Well," he shrugged, "after all, we own the
property Ann Harding, you know."
"Oh, no," Ann answered quietly. "You
don't own it. You merely lease it. Ann Hard-
ing belongs to me."
And Ann jumped into her roadster, pressed
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I24
Photoplay Magazine for May, 1932
OUR readers are constantlyasking for new photographs
of their favorite motion picture stars and we are
pleased to announce that we have just received new
pictures of the following ten players:
Constance Bennett
Joan Crawford
Marlene Dietrich
James Dunn
Clark Gable
Greta Garbo
Miriam Hopkins
Fredric March
Robert Montgomery
Norma Shearer
These beautiful prints, which are 8x10 in., can be ob-
tained for 25c each from PHOTOPLAY Magazine. How-
ever, you can get any four of those listed FREE with a one
year subcription to PHOTOPLAY. Use the coupon below.
We have a limited number, so send in your order today.
Photoplay Magazine,
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Am enclosing $2.50, please send me the next twelve issues of PHOTOPLAY and
photographs of the four stars which I have listed.
Names of Stars:
NAME
ADDRESS
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Canada and Foreign $1.00 extra.
.STATE.
POR-5
her foot on the throttle, flew up the hillside.
And there, perched high above Hollywood, she
looked down at the waving palm trees, the old
ind the peppermint green stucco houses,
the winding roads, the grotesque theaters, the
false fronts of the elaborate picture studios.
And with that million-dollar-voice, Ann mur-
mured:
"Aw. nerts."
And goes on with her knitting.
Down to Two Cents!
[ CONTINUED FROM PAGE I
to overflowing. Only then was she truly and
completely happy. At home in a lovely New
York apartment, with the man she loved and
who loved her. It was the complete fulfillment
of a girl's dreams.
Only experience could teach her of the com-
pensating tragedy — the loss of all these things
that she held so precious. And it did, of course.
A S time passed, Wynne sensed rather than
■**-kne\v that their love was becoming over-
clouded.
Least of all did she suspect that one of her
best women friends was an agent in the demoli-
tion of her dreams — yes, her story is that con-
ventional! She had always thought ot the
"other woman" as the stage and screen painted
her — an obvious vampire, a surface siren. Hut
deadly poison was seeping through the veins c f
their romance.
"Perhaps, if I return to the stage, he will
miss me terribly — will want me home again."
she thought.
So Wynne went back to the theater — left the
battlefield without even suspecting the identity
of her mortal enemy.
While she was on tour, her maid would call
her from New York — and then would talk
trivialities. Wynne felt that the servant was
trying to warn her, and yet was inarticulate
when the moment came. She gave up the part
— left the show — hurried home. Then she
knew.
The apartment was empty. Her husband
was gone — with the "best friend." of course.
It was that obvious — and that appalling.
The next few months were Wynne Gibson's
black days. She walked through the valley i f
the shadow — today she can hardly remember
incidents of that lonely, lost period. At last,
emerging from the darkness, she thought of
work. Would that break the spell of despair
that had held her so long?
She was indifferent about what she did. And
chance, which had cast her in her girlhood in
musical comedy, led her toward the dramatic
stage! She was given a fine, showy part in
"Jarnegan" — in which Richard Bennett intro-
duced his young daughter, Joan, to the world
of the theater.
How Wynne played it! Critics noticed her
— and so did certain picture potentates. She
was handed a role in Paramount's "Nothing
Hut the Truth" — and her feet were on the first
rungs of the photoplay ladder.
NEW faces — new places — work which was
twice as hard because it was new and un-
tried. She plunged into her new labors with
a high heart, burning bridges and looking for-
ward to new and brighter times.
She quietly secured a divorce, and headed
for Hollywood without a contract. Within a
week she was working for Metro in " Children
of Pleasure." Then she astounded the lot by
refusing to play in "Madame Satan" for
De Mille. She thought you could refuse a
picture part as you could a play role. She
learned differently — at the expense of her con-
tract.
She landed with Paramount— bits, and more
bits. For two years she has built herself
toward featured roles. Her masterful handling
Photoplay Magazine for May, 1932
of that small but unforgettable part in "Ladies
of the Big House" set all eyes upon her.
Audiences wanted more Wynne — and when she
gave Miriam Hopkins stiff competition in
"Two Kinds of Women," she was ready.
Potential star material, everybody said — and
she won the lead in "Clara Deane." Now
Wynne Gibson's pretty head is poking about
among the stars!
"DUT it's another Wynne than the crushed girl
•^whose life dropped away in a forsaken New
York apartment.
The new Gibson girl is the one who has built
a brave and laughing spirit upon the ruins of
the old.
She gives smiles to a world where there are
too many sighs, just now.
And I guess I may be pardoned when I smile
slyly to myself when people say:
"Rush over to Paramount and get a load of
that Wynne Gibson ! Is she a card ! What a
sketch!''
I know the price she paid for being able to
trade laugh for laugh — the price that the
maddest and merriest nifty-makers always
seem to have to pay.
And now, if you have stayed with me, you
know, too!
Corded and ribbed effects are tre-
mendously smart in silks, wools and
cottons this year. And to prove it,
Ann Harding wears a stunning black
and white ensemble with wool coat in
a corded weave and a white silk dress
echoing the same idea. Trick hat,
too, don't you think? Note those
white buttons on the coat
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1 26
Photoplay Magazine for May, 1932
'Addresses of the Stars
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CUweujA (IttAacb
The women you most admire, and perhaps
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THE PSYCHOLOGY PRESS
585 Kingsland Ave.. St. Louis. Mo.. Dept. 4-E
SUBSCRIBE FOR PHOTOPLAY
l se Convenient Subscription Blank on Page 110
Hollywood, Calif.
Paramount Publix Studios
Adrienne A:
Richard Arlen
George Bancroft
Tallulah Bankhead
George Barbier
Clive Brook
Eleanor Boardman
William Boyd
John Brecden
Chas. D. Brown
Nancy Carroll
Maurice- Chevalier
Claudette Colbert
Juliette Compton
Jackie Coogan
Robert Coogan
Gary Cooper
Frances Dee
Marlene Dietrich
Claire Dodd
Junior Durkin
Stuart Erwin
Marjoric Gateson
Tamara Geva
Wynne Gibson
Phillips Holmes
Miriam Hopkins
Lenita Lane
Carole Lombard
Paul Lukas
Jeanette MacDonald
Fredric March
Sari Maritza
Marx Brol
Frances Moffett
Rosita Moreno
Frank Morgan
Jack Oakie
Eugene Pallette
Ramon Pereda
Irving Picliel
Gene Raymond
Charlie Ruggles
Jackie Searl
Sylvia Sidney
Charles Starrett
Lilyan Tashman
Kent Taylor
Regis Toomey
Allen Vincent
Judith Wood
Fox Studios, 1401 N. Western Ave.
Frank Albertson
John Arledge
Warner Baxter
Ralph Bellamy
Joan Bennett
EI Brendel
Joan Castle
Paul Cavanagh
Virginia Cherrill
William Collier, Sr.
Roxanne Curtis
Jesse DeYorska
Donald Dillaway
Allan Dinehart
James Dunn
Sally Eilers
Charles Farrell
Janet Gaynor
Minna Gombell
Olin Howland
Warren Hymer
J. M. Kerrigan
James Kirkwood
KlUsa Landi
Helen Mack
Kenneth MacKenna
Thomas Meighan
Una Merkel
Don Jose Mojica
Goodee Montgomery
Ralph Morgan
Greta Nissen
Marian Nixon
George O'Brien
Lawrence O'Sullivan
Cecelia Parker
William Pawley
Yvonne Pelletier
Gaylord Pendleton
Howard Phillips
Terrance Ray
Manva Roberti
Will Rogers
Peggy Ross
Raul Roulien
Rosalie Roy-
Peggy Shannon
George E. Stone
James Todd
Spencer Tracy
Marjorie White
Charles Williams
Elda Yokel
Radio Pictures Studios, 780 Gower St.
Mary Astor
Roscoe Ates
Evelyn Brent
Joseph Cawthorn
Lita Chevret
Ricardo Cortez
Lily Damita
John Darrow
Dolores Del Rio
Richard Dix
Irene Dunne
Jill Esmond
Noel Francis
Roberta Gale
Morgan Galloway
John Halliday
Hugh Herbert
Leyland Hodgson
Rochelle Hudson
Kitty Kelly
Geoffrey Ken-
Rita LaRoy
Dorothy Lee
Hri: Linden
PhiUips"Seth Parker"
Lord
Joel McCrea
Ken Murray
Edna May Oliver
Laurence Olivier
William Post
Lowell Sherman
Ned Sparks
Polly Wall r-
Ruth Weston
Bert Wheeler
Hope Williams
Robert Woolsey
RKO-Pathe Studios, 780 Gower St.
Robert Armstrong
Constance Bennett
Bill Boyd
James Gleason
Ann Harding
P. la Negri
Eddie Quillan
Marion Shilling
Helen Twelvetrees
United Artists Studios, 1041 N. Formosa
Ave.
Eddie Cantor
Charles Chaplin
Ina Claire
Ronald Colman
Melvv n Douglas
Douglas Fairbanks
Jean Harlow
Al Jolson
Evelyn Lave
Chester Morris
Mary Pickford
Gloria Swanson
Norma Talmadge
Barbara Weeks
Columbia Studios, 1438 Gower St
Eddie Buzzell
Richard Cromwell
Susan Fleming
Ralph Graves
Jack Holt
Buck Jones
Loretla Savers
Barbara Stanwyck
John Wayne
Culver City, Calif.
Metro-Goldwyn-Mayer Studios
Nib A
William Bakewell
John Barrymore
Lionel Barrymore
Wallace B-
Char].
rt Braggiotti
Jackie Cooper
Joan Crawford
Kathryn Crawford
Marion Davies
Reginald Denny
Marie Dressier
Jimmy Durante
Cliff Edwards
Madgi Evans
Wallace Ford
Clark Gable
Greta Garbo
John Gilbert
Charlotte Greenwood
Eleanor Gregor
William Haines
Helen Hayes
Hedda Hopper
Leila Hyams
Dorothy Jordan
Buster Keaton
Myrna Loy
Joan Marsh
John Miljan
Ray Milland
Robert Montgomery
Poll;. Moran
Karen Motley
Conrad Nagel
Ramon Novarro
Ivor Novello
Maureen O'Sullivan
Anita Page
Ruth Selwyn
Norma Shearer
Lewis Stone
Lawrence Tibbett
Ernest Torrence
Hal Roach Studios
Charley Chase
Mickey Daniels
Dorothy Granger
Oliver Hardy
Mary Kornman
Stan Laurel
Gertie Messinger
Our Gang
David Sharpe
Grady Sutton
Tlielma Todd
Universal City, Calif.
Universal Studios
Lew Avres
Tala Birell
John Boles
Lucik- Browne
June Clyde
Bette Davis
Sidney Fox
Rose Hobart
Boris Karloff
Bela Lugosi
Slim Summerville
Sally Sweet
Genevieve Tobin
Lois Wilson
Burbank, Calif.
Warners-First National Studios
George Arliss
Richard Barthelmess
Joan Blondell
Lilian Bond
Joe E. Broun
Anthony Bushell
Charles Butterworth
James Cagney
Ruth Chatterton
Donald Cook
Lil Dagover
Douglas Fairbanks,
Jr.
Kav Francis
Ruth Hall
Ralf Harolde
Walter Huston
Leon Janney
Evalyn Knapp
Ben Lyon
Mae Madison
David Manners
Marian Marsh
Yivienne Osborne
Dorothy Peterson
William Powell
James Rennie
Edward G. Robinson
Chas. "Chic" Sale
I r Ua Young
Warren William
Hollywood, Calif.
Robert Agnew, 6357 La Mirada Ave.
Virginia Brown Faire. 1212 Gower St.
Lane Chandler. 507 Equitable Bldg.
Llovd Hughes, 616 Taft Bldg.
Harold Lloyd, 6640 Santa Monica Blvd.
Philippe De Lacy. 904 Guaranty Bldg.
Los Angeles, Calif.
Pat O'Malley. 1832 Taft Ave.
Herbert Rawlinson. 1735 Highland St.
Ruth Roland, 606S Wilshire Blvd.
Estelle Tavlor, 5254 Los Feliz Blvd.
William S. Hart. Horseshoe Ranch, Newhall Calif.
Patsv Ruth Miller, 808 Crescent Drive, Beverly
Hills. Calif.
George K.Arthur and Karl Dane, Beverly Hills. Calif.
Photoplay Magazine for May, 1932
I 27
Discover Yourself Through the Movies You Like
[ CONTINUED FROM PAGE 33 ]
immigrant Scotch girl battling her way in
America had anything directly to do with him-
self or the woman who had given him birth and
had been left behind in the old country.
The story did, however, remind this par-
ticular onlooker of the day he had landed at
Ellis Island forty years before. It awoke a
chain of memories.
He recalled his promise to his mother to send
her a monthly allowance.
It also reminded him that he had been selfish
and careless about this of late. Indirectly, but
just as surely as though it had been written
especially for him, this picture went straight
to his heart.
He. too, discovered something about himself
by the picture he liked!
If a feature appeals to you, you may rest
assured that it is striking a responsive cord
somewhere within your emotional make-up. If,
on the other hand, a film does not interest you
— barring, to be sure, badly acted and badly
produced ideas — you may be equally certain
that there is nothing inside of you to match
what you see on the screen.
HTHE factor of interest, of course, is based on
•*- that very psychology. What has an interest
for you, what attracts or holds the attention,
does so only by virtue of your particular
emotional pattern.
Personally, ''Cimarron," which led all other
productions as the best, according to the film
critics' poll for 1931, left me quite unmoved.
Undoubtedly that is because I am not of an
adventurous disposition and historical, pioneer-
ing stories have always left me cold. But to the
filming of "Arrowsmith" I reacted like light-
ning. The answer is easy — I'm a physician!
Women who like "Min and Bill" are not
only impressed because of the superior work of
Marie Dressier. For if Dressier were in a
picture about a theme foreign to their own
emotions — they would say, "Oh, yes, she's fine,
as usual, but it went flat so far as I was con-
cerned. The story had no meaning for me."
What makes "Min and Bill" one of the very
finest ever sent out is the fact that it deals so
effectively with sacrifice, a universal emotion
that has always been placed upon a pedestal
and worshipped.
To be sure, since human nature is so very
complex, I would not, psychologist though I
am, attempt to make a final analysis of any-
one's character by the reactions which he or she
showed to any given screen play and that
alone.
Nevertheless, even here, certain general de-
ductions at least can be formulated.
If, for instance, you liked " Politics," I would
say that you are not very repressed because
you haven't forgotten how to laugh. If " Mata
Hari" fascinated you I would judge that it was
not the story that held you but rather Garbo
herself and because you are still youthful
enough, at least in thought, to be intrigued by
her mysterious, baffling and indefinable sex
attraction.
If you responded to "Frankenstein" or to
" Dr. Jekyll and Mr. Hyde" I would guess you
to be seeking mental relaxation because you
need it, just as do so many of the world's great
men when they read detective thrillers. If
"Private Lives" held your interest you surely
are not naive, but sophisticated rather, in the
manner of my friend Miss K, spoken of in the
beginning.
But you can do that very thing for yourself.
Make a list of the pictures which, let us say,
have specially appealed to you within the past
year.
T AM sure that, first of all, you will be sur-
*■ prised at the similarity of the themes that
you liked. If you liked " Min and Bill " you prob-
ably also liked "Forbidden." The majority of
your pets probably will have dealt with the
same general emotions, whether they be love,
sex, heroism, sacrifice, pity or the overcoming
of obstacles.
Secondly, I feel convinced that by analyzing
the one or two or more pictures which do not
correspond to the motivation true of the
majority you liked, you will discover many
facts about yourself which will surprise you.
But be sure to do one thing more. Resolve
after this not only to attend the film showings
you think you will like but make it your busi-
ness to attend as many different kinds of
pictures as possible.
After all, the human being is made up of
many components of forces and merely because
one special set is prominent — so much so that
the individual recognizes it — this does not
mean at all that he or she, as the case may be,
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128
All the glor^ of
WHOLE TOMATOES
in thi
famous
Gocktai
Among all Nature's gifts, none is
more temptingly delicious, more
heavily laden with healthful prop-
erties than the whole tomato. And
nowhere is its glory so reflected
as in original College Inn Tomato
Juice Cocktail.
It's the utmost in full-bodied,
full-flavored tomato juice; made
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hand picked — and then blended
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Always put up in glass con-
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Insist upon original College Inn
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pared to most canned juices it's
like fresh, rich, creamy, whole
cream instead of thin, watery milk.
Photoplay Magazine fob May, 1932
is not capable of experiencing emotional re-
actions of entirely different varieties.
If a woman with a strong mother instinct.
let us say, keeps on Beeing only pictures of this
type she undoubtedly will miss a lot of real
enjoyment from pictures involving other ideas.
And particularly will she miss a real thrill when
a picture stirs up some unsuspected feeling or
reveals some new truth about herself.
yes, discovering yourself even by the pictures
you think you may not like is fascinating. Ask-
ing yourself wky you did not like them can be
equally as revealing as in the other case.
For there is a reason for everything. Your
mind, your emotions, are not strung together in
a careless, makeshift arrangement. No
machine is quite so orderly as the brain.
Therefore, where there is an effect there must
be a cause.
Where the "effect" is enjoyment of a certain
picture the "cause," when hunted for, not only
becomes a valuable asset when discovered, but
the search itself — the act of doing a piece of
detective work on your own self — yields even a
greater thrill than the film that fascinated you .
THE ORIGINAL
TOMATO JUICE
C O C K T A I L
Collece Inn Food Products Co.
Hotel Sherman . ... Chicago
415 Greenwich St. . . New York
Hollywood's New
Lover
[ CONTINUED TROM PAGE 31 ]
clubbed the customers, clubbed each other.
It was grand.
On to big shows. "Show Girl," "The New
Yorkers," where Donald Ogden Stewart,
Percy Hammond, Chevalier and others
gathered weekly to enjoy the earthquake.
Then on to Hollywood and "Get-Rich-Quick-
Wallingford," "The Cuban" and "The Pas-
sionate Plumber"!
A ND clumsy! Schnozzle is just as dainty as a
■**■ rhinoceros on the loose. It keeps Jimmy's
right hand man paying the damage bills as
they go along.
On the road, when Jimmy was through with
a piano, the piano stayed through.
It was wrecked. The piano stool was a mere
shadow of its former self. Props mashed.
Bass drums punctured. Just like an ostrich
stepping out.
Xo grace at all. No style or charm. And
still they fall for him. What do you make of it?
He'll attend the swankiest of luncheons at
the Ritz or Waldorf and order ham and eggs
every time.
And he goes in for pie crust in a big way.
He'll eat everyone's pie crust for tables and
tables around him.
For the first time in twenty-five years
Jimmy found himself out of a cafe on last
Xew Year's Eve. "And where was I?" Jimmy
asks. "Where was I? On a desert. On a
desert, mind you. Sure, they got a big desert
down at a place called Palm Springs and I was
on it. And was it unexcitin'? Cheeze.
Xuttin' doin', see, and all them swells andstars
and things and everybody actin' sedate 'n'
evervting, so I start a little playin' and
singin' and say, in fifteen minutes they wuz
all playin' Farmer in the Dell and grabbin'
hands and goin' around in circles, and then
everyone wanted to sing and play and the
place was a riot. De manager come over and
wit tears in his eyes he said, 'Jimmy, you've
saved the day. The place is yours. Any
time you care to come.' "
AND did the beauties flock around Jimmy
with, "Oh, please, Mr. Durante, won't you
dance with me next? Please do."
"You see," Jimmy confides, "it's just be-
cause they wuz seein' me in pusson."
James!
We sat across the luncheon table from Jimmy
at the M-G-M commissary the other day.
H
are You
A BOY FRIEND
WHO NEEDS
A J O B ?
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Go right out today and invest ten
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Gi\e it to him and >a\. "Boy, there's
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Opportunity tells him how to do
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Obey your impulse and do it to-
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If your newsstand is sold out of
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him immediately. Address Dept. 11.
OPPORTUNITY
The Magazine That Finds Jol>s
and Teaches Salesmansli ip
919 North Michigan Avenue
CHICAGO
Photoplay Magazine for May, 1932
I2(
About us sat all the handsome heroes of the
screen, Gable, Montgomery, John Barrymore
and others.
Suddenly, in the doorway stood a vision of
blonde loveliness. Young and beautiful.
Every eye was on her. Her lips parted in
greeting.
Every eye smiled in return. Every mascu-
line face beamed welcome.
Jimmy went right on eating his apple
puddin'. AYith ice cream.
SUDDEXLY, the young woman darted for-
ward. The men, almost as one, half rose
to their feet.
"Jimmy," she cried, and made straight for
him. "You lamb," she cooed and kissed him
smack on the top of his head before Jimmy
even knew she was there.
To this day he's trying to figure out who she
is.
You see, half the time he doesn't even see
them. And they go for him just the same.
I told you. He's the biggest sensation in
years. Jimmy, he goes his way and they go
his way.
He might, this Durante person, "do wit
out Hollywood, but could Hollywood do
wit out Jimmy?"
How mortifyin'.
Ladies and Gents,
That's Love!
[ CONTINUED FROM PAGE 47 ]
It is another afternoon before the great
Palace Theater. But on the billboards there is
but one name in big, eye-filling type — Barbara
Stanwyck !
Midway in his second week as bill-topper
Frankie had dropped from the picture, and
Barbara reigned for the family.
So Barbara's generosity — her sacrifice for
Frankie — was in vain. Love's labor was lost —
as it so often is.
It is hard to restrain the tremolo stop, at this
point, what with Barbara giving her best to
help Fay in his Broadway comeback.
Now, to raving beauty and fine young actress
must be added another description of this
gorgeous one — great sport! For the first time
a shining star has given up pride, billing, dig-
nity and ease for the man she's mad about. It's
a riddle.
When is a star not a star? — when she's as
much in love as Barbara Stanwyck!
AXD that's the dot at the end of the latest
chapter in the love story of Barbara Stan-
wyck and Frank Fay — a sad one, from which
Babs emerges with new honor and fresh bou-
quets of admiration!
Now they'll be off to Hollywood, hand in
hand!
Warners are happy that they have Barbara
for more pictures — -Columbia counts itself
lucky to have her under lock and key for one
more.
Once back in Filmland, Stanwyck will again
be the leading lady, the headliner, the star of
the piece.
And Frank? Perhaps he'll find a niche in
the talkies.
We hope so. But whether or no, he'll have
Barbara! What a lucky bird!
And all that will remain of this strange
Broadway interlude — when a blazing star
happily played second fiddle to a vaudeville
wisecracker — will be a fast fading memory.
As far as I am concerned, it can't fade too
fast.
A sad. unhappy business — save for Barbara's
brave role as sacrificial doe.
What remains is Love — with a capital L,
and spelled out in flames. And now — the next
chapter in Hollywood's most romantic love
story?
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Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PAGE 107 ]
DAM OX NOVARRO may cling to the same
■^"dressing gown, but he has a brand-new
philosophy of life that he thought up all by
hi- little self. Ramon used to Ik- a believer in
astrology. Marie Dressier got him interested
and unit-- Venus was rising or Taurus -etting
or all the aspects were okay he wouldn't give
a party or start a new picture.
And then the >tars told him that on a
certain twentieth of a certain month he was
going to die. Alarmed, Ramon fortified him-
self on the night of the nineteenth. On the
twenty-first he awoke with such a bad head-
ache that he wished he were dead. But he
wasn't.
So that convinced him that the solar system
had nothing to do with his system.
So now he has it all doped out that even-
thing that happens is meant in some way for
good. Mistake- and troubles may be benefits
all dressed up in dark robes. And the idea i-
not to feel badly over mistakes and disappoint-
ments, for somehow it will all work out all
right and this is the best of all possible
worlds.
DAMON NOVARRO sent a lovely plain
gold ring to the grandmother he adopted,
after they had struck up an acquaintance via
fan mail. She says she'll be buried with it on.
And on her birthday Ramon wired her flowers
and sent her present-. She won't let him send
her very expensive one-, but at Christmas-
time she gave him a cigarette case and lighter
— the most gorgeous set that could be bought.
'"PULLY MARSHALL is one of
those actors who drive directors
crazy. He can never be found when
he's wanted. They had searched the
lot for him one day when somebody
suggested, "Look in Lionel Barry-
more's dressing room. He probably
went over to chat with Lionel and
they fell asleep together."
CCORE another one for Sylvia whose articles
in Photoplay preach the doctrine that you
mu>t have a well balanced and nourishing diet
to keep your health while you're reducing.
You remember that Kathryn Crawford got
the lead in "Flying High" by losing ten pounds
in one week on an orange juice diet.
But her resistance was so lowered that she
has been almost constantly ailing and. be-
cause production can't be held up for illness,
her name has been taken off the M-G-M con-
tract list, so what success she gained by losing
weight, she has now lost. All for one picture.
A A AXY strange requests arrive in Holly-
wood, but one cabled from Doug Fair-
banks' yacht on its way to the South Seas had
everyone guessing.
"Send two dog harness at once," it read.
The dog harness was duly dispatched, but
curiosity got the better of the folks at the
studio so they wired back asking why Doug
wanted a dog harness with no dog on board.
The answer came back stating that the mas-
cot of the ship, a pet monkey, had turned
rascal on them and went about turning on
faucets, almost draining the ship of fresh water.
And as soon as he found he was in disgrace,
he went scurrying from aft to fore. So before
any more monkey business went on, Doug
wanted him in harness.
•"THE story of one of Tom Mix'- Westerns at
Universal demanded that Tom shoot at
the head of a criminal until he confesses to a
crime, beginning at wide range and making
each succeeding shot six inches closer to the
head.
Edward Peale played the criminal. Tom
began his shooting and did not stop until the
last shot was one inch and a half from I'eale's
head. As Peale stumbled from his portion, his
lips white and trembling, he jittered, "And
they'll say it was faked, anyway!''
TJTERE'S something else Clark Gable has to
answer for.
Mrs. Madrienne M. Roath told the judge
that one night she came home from a mo\-ie
and said she thought Clark Gable was a
wonderful actor. So her husband gave her a
black eye and said she couldn't see Clark on
the screen any more.
ISO
"Does that hole in my sock show?"
The NEWS and
FASHION
MAGAZINE of
the SCREEN
June
25
Cents
30 Cents
in Canada
The
lollywood
Stars
Tell You
low to be
Beautiful
Give
Yourself
a Break
See Page 32
CHIP OFF THE OLD BLOCK
Cash in on Poppa's famous name?
Not Douglas Fairbanks, Jr.! For
months he labored as a five-dollar-
a-day "extra." Then he crashed in-
to a part I ike a brick through a plate-
glass window. See him in his latest
FIRST NATIONAL PICTURE, "IT'S
TOUGH TO BE FAMOUS." Doug
has stuck to LUCKIES four years, but
didn't stick the makers of LUCKIES
anything for his kind words.
"You're a brick, Doug."
"LUCKIES are my standby. I buy them exclusively. I've
tried practically all brands but LUCKY STRIKES are kind
to my throat. And that new improved Cellophane wrapper
that opens with a flip of r\ a '~f , . ff
the finger is a ten strike." KTv**V^t TZ*^£~*~&h'
"Its toasted"7
Your Throat Protection— o gainst irritation— against cough
And Moiz,ture-Proot Cellophane Keeps that "Toasted" Flavor Ever Fresh
Photoplay Magazine for June, 1932
TRUE! Men, like bees, are drawn to
the flower that is delectably fra-
grant! But of what use perfume, if on
closer scrutiny, these critical men
find that all your attractiveness flies
away when you smile?
Don't forget that to be alluring, a
smile must reveal only brilliant, white
teeth ! And sound, white teeth are de-
pendent on sound, firm gums!
The foods of these modern days are
far too soft and creamy to stimulate
the gums— to keep them hard. Now
they're soft and flabby. Tender, too.
You have "pink tooth brush"— or
you're likely to have it.
And if you're wise, you'll do some-
thing about this unhealthy condition
of the gums. For "pink tooth brush"
not only can dull the teeth, make
them grayish-looking — but it may
endanger the soundness of the teeth.
And all too often it leads to gum
troubles as serious as gingivitis and
Vincent's disease — even the rare but
dreaded pyorrhea.
If you'll get some Ipana Tooth Paste,
and rub a bit of it into your gums
every time you clean your teeth, you
won't have to worry about "pink
tooth brush." The massage stimu-
lates the gums, of course. But the
ziratol in Ipana (ziratol is a splendid
toning agent) aids the massage in
firming the gums.
Ipana is first of all a splendid mod-
ern tooth paste, and keeps teeth beau-
tifully white and clean. Ipana with
massage keeps the gums hard and
healthy. Ipana with massage protects
your smile! So today— start in with
Ipana, and you can forget about ' 'pink
tooth brush."
IPANA
BRISTOL-MYERS CO., Dept. 1-62
73 West Street, New York, N. Y.
, -i Kindly send me a trial tube of IPANA TOOTH
"P~, _' >^ O ^> O x^^^^^\ 1 PASTE. Enclosed is a two-cent stamp to cove: partly
" "*^^i r~ — - C 'x\ I ^^P' the cost of packing and mailing.
^^° MM name.
Z^i '^*Z^**00^^~ City S,a"-
COPR. 1932. BRISTOL-MYERS CO.
A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury
Photoplay Magazine for June, 1932
>^
J
TALLULAH BANKHEAD
II
in
THUNDER BELOW
One woman — desired, desiring — in a village of lonely men! Torn between passion and
honor, lovers and husband! Below the Equator, where civilization's barriers swiftly
burn away. What a great role for this great actress! TALLULAH BANKHEAD will make you
feel the pity, the passion, the penance of this woman whom love consumed! With a great
cast, including Paul Lukas, Charles Bickford and Eugene Pallette. You'll get the thrill
of the year from ''Thunder Below" — a great Paramount Picture, "best show in town!"
Directed by Richard Wallace from the novel by Thomas Rourke.
(jjaramoiuit ig* CjJidiirei
PARAMOUNT PUBUX CORP.. ADOIPH ZUKOR. Pres., PARAMOUNT BLDG., N. Y. C.
OTO
The World's Leading Motion Picture Publication
Vol. XL! I Xo. 1
JAMES R. QUIRK, Editor and Publisher
June, 1932
Winners of Photoplay
Magazine Gold Medal for
the best picture of the year
1920 1921 1922
"HUMOR- "TOL'ABLE "ROBIN
ESQUE" DAVID" HOOD"
1923 1924 1925
"The "ABRAHAM "THE BIG
COVERED LINCOLN" PARADE"
WAGON"
1926 1927 1928
"BEAU "7th "FOUR
GESTE" HEAVEN" SONS"
1929 1930
"DISRAELI" "ALL QUIET ON THE
WESTERN FRONT"
Information and
Service
Brickbats and Bouquets .... 6
Hollywood Menus 17
Friendly Advice on Girls'
Problems 68
Questions and Answers .... 78
Screen Memories From Photoplay . 122
Addresses of the Stars 125
Casts of Current Photoplays . . . 128
High-Lights of This Issue
Close-Ups and Long-Shots James R. Quirk
Give Yourself A Break Betty Longacbe
Was It Really Only Yesterday?
Cal York's Monthly Broadcast from Hollywood ....
The Star of Stars
Those Were the Good Old Days
The Hollywood Beauty Shop ....
The Unknown Hollywood I Know
Seymour — Photoplay's Style Authority
A Studio Monk Makes a Plea for Fair Play
Please! Please! Use Your Common Sense
Vote for the Best Picture of the Year
Studio Rambles Sara Hamilton
Carolyn Van Wy< k
Katherine Albert
Leonard Hall
Sylvia
25
32
34
36
46
52
54
60
61
65
68
120
130
Photoplay's Famous Reviews
Brief Reviews of Current Pictures 8
The Shadow Stage 48
Short Subjects of the Month 121
Personalities
"Scarface" — Paul Muni Sidney Skolsky 27
Hey! Hey! Here Comes Johnny! .... Katherine Albert 28
Genevieve Goes Torrid Leonard Hall 30
Claudette Battles On 31
Site Wants to Be Funny Sara Hamilton 40
We Present Two Splendid Xew Screen Personalities . Ruth Biehy 66
Harold Is "Movie Crazy" 70
Dolores Del Rio 74
How They Save Joan Crawford's Time 76
(Photoplay Radio Contest Coupon on Page 118)
Published monthly by the Photoplay Publishing Co.
Editorial Offices, 221 W. 57th St.. New York City Publishing Office, 919 N. Michigan Ave., Chicago, 111.
The International News Company, Ltd.. Distributing Agents, 5 Bream's Building, London, England
James R. Quirk, President Robert M. Eastman. Vice-President Kathryn Dougherty, Secretary and Treasurer
Yearly Subscription: S2.50 in the United States, its dependencies. Mexico and Cuba; S3.50 Canada; S3.50 for foreign countries. Remittances
should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.
Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879.
Copyright, 1932, by the Photoplay Publishing Company, Chicago
1 he Aud
lence
1 a
Ik
B
ack
The fans couldn't believe that
Ann Harding and Harry Ban-
nister, whose love seemed
such a sure thing, were really
separated. Hundreds wrote
in to PHOTOPLAY asking if
it were really true. One
woman said her movie illu-
sions had been shattered
Maurice, you big brute, you're
making that little woman cry !
But Jeanette MacDonald will
cry with joy when she reads
all the nice things written
about her and Chevalier in
"One Hour With You." It is
as great as "The Love Pa-
rade," is what they all say
THE $25 LETTER
I have a protest to register and I believe that
there are a few million American mothers who
will back me up.
We have two children who are fond of the
movies so we go all together twice a week. We
try to choose a feature which we feel will not
outrage our sense of decency nor embarrass us
before our children. For the feature pictures
we can make a right choice, thanks to reviews
in Photoplay and the consistency of most pro-
ducers in keeping certain stars in clean pictures.
But very often we find a comedy following
which contains remarks and innuendos which
were taboo in most refined, adult gatherings a
few years ago.
Vet they are flung before our children as
entertainment.
I have often, when witnessing certain come-
dies (not all) sat there and thanked heaven that
my little girl was too young to comprehend
them and prayed that my eleven-year-old boy
might miss them. It sickened me to hear the
comprehending guffaws of the young boys and
girls about us and the echoing laughter of the
little people who had yet to learn what they
were laughing at.
Jeanne Dalzell, Pasadena, Calif.
THE $10 LETTER
Wuxtra, wuxtra! Here's one for Ripley!
Girl sixteen travels thousands of miles in two
years, but has not left sanatorium bed ! Ex-
planation in next paragraph.
Oregon provides movies for her T. B.
patients. Sure, they're just the old silents but
that doesn't anchor my ship of dreams which
steers a straight course for romance and ad-
venture, my favorite ports.
What sage was it said, " Everyone has to live
his own life"? With my few years of living I
shouldn't dispute the old fellow, but I must say
lie is sadly mistaken. I have found it more en-
joyable to let the movie actors live my life for
me, while I reap the pleasure. .After all, it's
not a bad idea, is it?
Lillabel Curry, Salem, Ore.
THE $5 LETTER
Life doesn't hold much for me now —
seventy-four years old, children scattered over
TWO big news events occupied
the spotlight this month. The
pen-takers-in-hand were shocked to
superlatives by Garbo's rumored re-
turn to Sweden — for good! — and
the separation of "the happiest mar-
ried couple in Hollywood," Ann
Harding and Harry Bannister.
But there were still time and space
left to crown a new king. Johnny
Weissmuller swam away with all
the honors, in spite of the fact that
there was quite a heated argument
about Clark Gable's role of the
minister in "Polly of the Circus."
There were nothing but raves for
Johnny. Hail, Tarzan!
"The Wet Parade" started a
nationwide discussion pro and con
prohibition. Sounds as if it were
going to continue for a long time.
Favorite films were "Alias the
Doctor" (praise for Richard Barthel-
mess), "The Impatient Maiden,"
"Arsene Lupin" and "One Hour
With You," with Chevalier and
MacDonald ringing the bell again.
Genevieve Tobin (you'll find a
swell story about her on another
page of this magazine) was voted
great in that picture.
Our foreign readers did lots of
writing this month. Do their
opinions coincide with yours? It's
fun knowing what people in other
lands think about our movies.
the face of the globe, no home life and, were it
not for the talkies, a lonely existence.
But do I sit in my room bemoaning my con-
dition, pitying myself and living a life of
regrets? I do not.
Thanks to modern progress my town sup-
ports six good movie theaters. I see a show
every day or night. Is this extravagance? No.
I consider my money well invested. In return,
I keep pace with the times; I become more
tolerant of mankind and, best of all, keep
cheerful and jovial and save on doctor's bills.
L. C. Gray, Miami, Fla.
DON'T LEAVE US, GRETV
I hope that Greta Garbo will renew her con-
tract because I think that if she doesn't the
movies will lose a great actress and a fine per-
son. Garbo will always be remembered just as
Duse is. As for being a mystery — well. I don't
think minding your own business and asking
others to do the same is mysterious.
J. Millest, Newark, NT. J.
It is whispered that Garbo is leaving for
Sweden after completing one more picture.
Are we, the public, the cause of this by con-
tinually hounding her to be interviewed? Can't
we understand that hers is a sensitive spirit;
that her ever)' action and emotion reveals the
soul of a genius? Many believe her selfish
because of her seeming indifference to public
opinion, but remember Garbo was always
afraid of crowds from the time she was a child.
Kathleen Esau, Winnipeg, Canada
There has been much talk lately that Greta
Garbo will retire. What a shame that would
be. Doesn't she realize that she brings happi-
ness to countless millions all over the world?
My hope is that this letter will be an influence
that will cause her to continue her work that
is as great as that of a diplomat, clergyman
or scholar.
Edgar Sholunt), Gothenburg, Xeb.
[ PLEASE TURN TO PAGE 10 ]
When tie audience speaks the stars and producers listen. We offer three prizes for the
best letters of the month — $25, $10 and $5. Literary ability doesn't count. But candid
opinions and constructive suggestions do. We must reserve the right to cut letters to
suit space limitations. Address The Editor, PHOTOPLAY, 221 W. 57th St, New York City.
Photoplay Magazine for June, 1932 J
You loved her irTMADAME X^'SARAH* SON'. TOMORROW and TOMORRf
Now see her in ALL her qlonj . . .
on.
HER LOVELINESS ENHANCED . . .
HER MAGIC MULTIPLIED ... IN
HER ftrst FIRST NATIONAL PICTURE
KICH
ARE ALWAYS WITH US
The ultra smart set in the mad scramble for
thrills!... A sumptuous portrayal of sensuous
society in the perfumed fragrance of Park
Avenue and Paris boudoirs... Witty —naughty
-gay!... A spectacular story of how the ritzy-
half lives — and loves — and lies . . . Com-
ing soon to leading theatres everywhere.
COULD THEY CMEA
THE MAfcMAGEGAME?
■■
with BETTE DAVIS
GEORGE BRENT JOHN MILJAN
Direction by
ALFRED E. GREEN
another FIRST NATIONAL Hit!
Consult this pic-
ture shopping
guide and save
your time, money
and disposition
Ijrief Jxeviews of
Current Pictures
■Jc Indicates photoplay was named as one of lite best upon its month of review
AFTER TOMORROW— Fox. -You'll lib
it i- clunn, it has charm and is sincerely acted
by Charlie FarreU and Marian Nixon. (May)
AIR EAGLES— All-Star — An amusing enough
oicture, but bigger and better air films have been
made. (April)
• ALIAS THE DOCTOR— First National.—
Now it's Richard Barthelmeaa who glorifies the
medical profession. Rather gruesome. (April)
\l MOST MARRIED— Fox.— A competent cast,
including Ralph Bellamy and Violet Heming (stage
star), struggle valiantly with a weak story, silly
dialogue and careless direction. (Feb.)
AMATEUR DADDY— Fox.— If you can imagine
Warner Haxter mothering a brood of orphaned chil-
dren you'll enjoy this. Great for the kids. (May)
AMBASSADOR BILL— Fox— Will Rogers, a
mythical kingdom and a lot of laughs. (Dec.)
ANYBODY'S BLONDE— Action Pictures.— Prize-
fight stuff, with some laughs and exciting moments.
(Feb.)
• ARE THESE OUR CHILDREN?— Radio
Pictures. — Inside, and pretty serious stuff on
what goes on in some high schools. Neither parents
nor children should miss it. (Dec.)
• ARE YOU LISTENING?— M-G-M.— Grand
stuff behind the scenes of a broadcasting com-
pany with Billy Haines doing a straight dramatic
role excellently. Madge Evans fine. (May)
• AROUND THE WORLD IN EIGHTY
MINUTES— United Artists.— Douglas Fair-
banks in the funniest, trickiest, peppiest travelogue
you've seen. A novelty you must not miss. (Jan.)
• ARROWSMITH — United Artists.— Neither
author Sinclair Lewis nor you will find fault
with this. The story of a doctor, beautifully done by
Ronald Colman and Helen Haves. A great picture.
{Jan.)
• ARSENELUPIN— M-G-M.— The two Barry-
more boys. Jack and Lionel, in a picture that
be heat for superb acting. Story concerns a
Parisian thief and the captain of police. Sec this by
all means. (March)
BEAST OF THE CITY, THE— M-G-M.— Inside
workings of a city police department — with Jean
Harlow and Walter Huston. (Feb.)
BEHIND THE MASK— Columbia.— This ranks
among the best mystery and chill pictures of the year.
Jack Holt. (April)
BELOVED BACHELOR, THE— Paramount-
Complications between a sculptor, his ward and his
sweetheart. Paul Lukas and Dorothy Jordan are the
heart throbs — Charlie Ruggles screamingly funny.
(Dec.)
BEN HUR— M-G-M.— Although filmed in 1925
and dressed up in new sound effects, this Ramon
Novarro-Krancis X. Bushman picture is still eve-
tilling and exciting. (Feb.)
BIG SHOT, THE— RKO-Pathe.— A clean little
yarn. Eddie Quillan puts over startling business
deals and wins Maureen O' Sullivan, (J i
BLONDE CAPTIVE, THE— Australian Expedi-
tion Syndicate. — An exciting travelogue in aboriginal
Australia until the last reel, which is a bit thick.
(May,
BRANDED MEN— Tiffany Prod.— An old-time
Western with more action than a Democratic con-
vention and just as many thrills. Ken Mavnard,
June Clyde and Tarzan. the horse. (Feb.)
• BROKEN LULLABY Paramount. (Re-
viewed under title "The Man 1 Killed"). A
poignant story, excellently directed by Ernst Lubilsch,
and beautifully acted by Lionel Barrymore. Phillips
Holmes and a great cast. Take your extra hanky, but
don't miss it. (March)
BROKEN WING, THE— Paramount— Love and
adventure below the Rio Grande with Lupe Velez.
Leo < arrillo and Melvyn Douglas playing the old
hokum exceptionally well. (May)
BUT THE FLESH IS WEAK— M-G-M— So-
phisticated situations. Bob Montgomery wisecracks
and you'll remember Heather Thatcher, Hollywood's
only woman monocle wearer. (May)
CAIN — Talking Picture Epics. — Although not as
idyllic as "Tabu," this modern Robinson Crusoe story-
is both entertaining and beautiful. (March)
CAPTI VATI ON — Capital Prod. — Ho-hum, a
wife-in-name-only situation, a stouter Conway Tearle
and a leading woman who almost out-Dietrichs
Garbo. Made in England. (Dec.)
r^\SCAR, the Paramount
^-^ bootblack who has ap-
peared in several pictures,
was wanted at a neighbor-
ing studio for a part.
Oscar was offered $35 a
week. But he held out for
$40.
"Ill tell you what," they
finally said, "well compro-
mise and make it $37.50.'"
"Well," Oscar said,
thinking it over, 'Tse willin1
to compromise all right, but
I can't compromise a cent
under my 40 bucks."
Oscar won.
CARELESS LADY— Fox.— Joan Bennett in a
charming comedy with good situations and John
Boles. (May)
CARNIVAL BOAT— RKO-Pathe. — Runaway
trains and fist fights fail to lift this Bill Boyd lumber
camp melodrama above the mediocre. (May)
*CH\MP, THE — M-G-M. — You'll laugh.
you'll cry, you'll thrill at this superb picture
with those two great artists. Jackie Cooper and
Wallace Beery. Don't miss this one. (Dec.)
CHARLIE CHAN'S CHANCE— Fox— Warner
Oland again is splendid as the whimsical Oriental
detective. But the picture isn't set at a brisk enough
pace. ( March)
CHEATERS AT PLAY— Fox— Thomas Meighan
works hard in an old-fashioned story about a reformed
crook and his long lost son. (May)
CHEAT, THE— Paramount.— In which Tallulah
Bankhead does her acting stuff in an old-fashioned
story. (Jan.)
COCK OFTHE AIR— United Artists.— Obviously
meant to be whimsical, this Billie Dove story about
a ravishing war-time Parisian beauty went haywire
somewhere along the line. Pretty risque. (Feb.)
COHENS AND KELLYS IN HOLLYWOOD—
Universal. — A peek behind the Klieg lights and mi-
crophones. (May)
CONVICTED — Supreme Features. — A murder
mystery at sea and a good one, with Aileen Pringle
and Harry Myers. (Dec.)
CORSAIR — United Artists. — Familiar gangster
activities transferred to a marine setting, without im-
provement. Chester Morris. (Jan.)
CROSS-EXAMINATION— Supreme.— Plenty of
suspense about a boy accused of his father's murder.
(April)
CROWD ROARS, THE— Warners— Some of
the best auto race track stuff ever filmed. Uh-huh,
Jimmy Cagney socks the girls. (May)
• CUBAN LOVE SONG, THE— M-G-M.—
Lawrence Tibbett's voice, Lupe Velez' love-
making and Jimmy Durante's darn foolishness in a
lusty story of marines in Cuba. Great stuff. (Dec.)
• DANCERS IN THE DARK— Paramount-
Jack Oakie turns in a great performance.
Miriam Hopkins is the_dime-a-dance girl. (May)
• DANCE TEAM— Fox.— Sally Eilers and
Jimmy Dunn hit the bull's-eye once more. The
story is not as gripping as "Bad Girl," but you
mustn't miss those two kids! (March)
DEADLINE, THE— Columbia.— A Western with
a really good plot. Better than the average horse
opera. Buck Jones. (Jan.)
DECEIVER, THE— Columbia.— Wicked deceiver,
young girl, backstage atmosphere and a murder. Ian
Keith and Dorothy Sebastian. (Feb.)
DELICIOUS— Fox. — Recommended for Janet
Gaynor-Charles Farrell fans and lovers of clean
entertainment. Janet is a Scotch immigrant and
Charlie the rich young American. (Feb.)
• DESTRY RIDES AGAIN— Universal— The
king of Westerns is back. Kids shouldn't miss
Tom Mix and Tony. (May)
DEVIL ON DECK— Thrill-O-Drama.— All about
a brother's revenge in midocean and the wicked sea
captain's just desert. (Feb.)
DEVIL'S LOTTERY— Fox— Winners of the Cal-
cutta Sweepstakes find themselves together under
one roof and the consequences are thoroughly amaz-
ing and interesting. Elissa Landi and Victor McLag-
len. (May)
• DISORDERLY CONDUCT — Fox. — Sally
Eilers is teamed with Spencer Tracy and it's a
fine idea. The whole family should see it. (April)
• DR. JEKYLL AND MR. HYDE— Para-
mount.— Another horror picture that will send
cold chills and thrills up your spine. Fredric March
and Miriam Hopkins are great. Fred handles the
difficult dual role superbly. Marvelous stuff, but
don't take the kids. (Feb.)
DRAGNET PATROL— All-Star.— A banal ballad
in celluloid about a rum runner and two women.
(April)
DRIFTER, THE— All-Star.— William Farnura
miscast as a French-Canadian who goes about spread-
ing two sunshines where only one grew before. (April)
[ PLEASE TURN TO PAGE 12 ]
Photoplay Magazine for June, 1932
'hQSWifh''
'ong ;"';* r"sh
**7r-
Pri^o^ Qr»s of
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PEGGY
DUNN SHANNON
SPENCER. TRACY
Opinions from Over the World
[ CON TIM M' 1 ROM PACE 6 ]
PLEASE KISS AM) MAKE UP
And now the one and only Ann Harding
getting a divorce. Not so long ago columns
were written about the ideal couple Harry and
Ann.
Harry Bannister seems to feel that he
can't Iri a mere woman ruin his career. He
might be ri<^h t after all, hut can't people just
live instead of trying to soar the heights of fame
and folly?
Mas? Dalton, Haddon Heights, N.J.
Among some of the stars, divorce is rather
expected, but when it comes to one of the few
idols of whom Ann Harding was one, it is quite
disillusioning.
I hope we never read any gossip about War-
ner Haxter, Thomas Meighan and Jack Holt.
Lillian Ponds, Chicago, 111.
CONNIE AND JOAN
Why doesn't Joan Bennett get the praise
that's due her? She could have taken any one
of her famous sister Connie's pictures and done
as well, if not better than Constance.
Miss A. J. Plowman, Dallas, Texas
Constance Bennett is perfect and I am sure
that the rest of the public think so too only
jealousy forbids them to say so, but deep down
in their hearts they all love Connie. If not why
are the theaters always packed when a Ben-
nett film is shown?
Marge Veroshi, Bay City, Mich.
FORWARD, CHATTERTON FANS!
I think Ruth Biery went just a little too far
in her article about Ruth Chatterton in the
April Issue of Photoplay. I'll admit that
Chatterton was not at her best in "The Mag-
nificent Lie" and "Once a Lady" but no ac-
tress can make a good picture out of a flimsy
plot.
Hut "Tomorrow and Tomorrow" was fine
and if the love scenes were not just as they
should have been, I think some allowance
should be made for the fact that Ruth and
Paul Lukas were not on speaking terms during
the filming.
Janet Raley, Washington, D. C.
That thrust at Ruth Chatterton by Ruth
Biery in your April issue made me mad. I
have seen Miss Chatterton in every picture and
if she is slipping she is slipping forward. If
Miss IJiery was not stirred by "Once a Lady"
she couldn't be stirred with a cement mixer.
J. S. Patterson, Des Moines, Iowa
Ruth Chatterton's work in "Madame X"
and "Sarah and Son" showed the blazing gen-
ius that she really possesses. But in her recent
pictures, even discounting the mediocre stories,
there was an appreciable deterioration in the
quality of her performances. I felt that some-
thing should be done about it and I'm truly
thankful to Ruth Biery for her searching anal-
ysis of the trouble and to Photoplay for spon-
soring the article.
T. B. Bentley, Washington, D. C.
"AFTER TOMORROW"
What a relief, after a deluge of so-called so-
phisticated pictures, to run across something
as wholesome and refreshing as "After
Tomorrow. " As the mother of a growing
daughter, I was happy to find that somebody
still believes in ideals and that young love can
still be regarded as something fine and precious.
Of late there has been altogether too much
glamour cast over the lady of easy virtue; she
is made to appear mysterious and sophisticated
and desirable.
How are our growing girls to be made to
realize that moral character is still a valuable
asset if gorgeous beauties of the screen parade
as luxurious ladies of easy virtue?
Mrs. Ruth Newcomb, Berkeley, Calif.
THAT WEISSMLLLER 1H>\ '.
We who thrilled at seeing Johnny Weiss-
muller cut through the water were equally as
thrilled by his performance in "Tarzan. "
Dolly ASHLEY, Baltimore, Md.
Our local newspapers said that "Tarzan, the
Ape Man" was just a lot of hokum and trick
photography. But the critics did not see it as
the public did — a relief from the average type
of picture. It took our minds off our troubles
and, for awhile, we were free as Tarzan from
financial and business worries.
Mrs. G. H. John, Cincinnati, Ohio
"Tarzan, the Ape Man" should not be
missed. The directing is perfect, the acting
supreme and the outdoor scenery beautiful.
Let us have more of these fascinating pictures.
Corjnne Hughes, Memphis, Tenn.
"Tarzan, the Ape Man," is the most inter-
esting picture I have ever seen ; Johnny Weiss-
muller, as Tarzan, the most interesting char-
acter ever shown on the screen. I think that
this great swimmer will also become one of our
great movie actors.
Marion Hemmer, Lockport, N. Y.
GANGSTER OR PARSON GABLE?
In "Polly of the Circus" Clark Gable is woe-
fully miscast in the role of a preacher. He
tries manfully to make the audience forget that
he is the two-fisted, philandering lover of the
screen but without much success.
Leona Simmonds, Cedar Rapids, Iowa
"Polly of the Circus" has everything one ex-
pects in a picture today, also much food for
thought. I like Marion Davies always. But
I was used to Clark Gable as a gangster and
I'm amazed at what an ideal minister he makes.
Lillian Anderson, Oakland, Calif.
I have just seen "Polly of the Circus" and I
think it was the best that either Marion Davies
or Clark Gable have made.
Clara Wyland, La Ferio, Texas
Some people objected to Clark Gable as the minister in "Polly of the Circus," but others cheered him for
making a pastor a real man, able to meet situations like this. Everybody thought Marion Davies was great
10
Make Movie Arguments Exciting
"The Wet Parade" has started an argument that
will be heard around the world. "The newspapers
give us the cold facts," said one reader, "but this
film is the living drama of prohibition." Walter
Huston and Robert Young are shown above in one
of the many thrilling action scenes in the picture
Last month a reader wanted to know what had be-
come of her favorite, Richard Barthelmess. This
month she wrote to add her word of praise along
with that of hundreds of others for his work in "Alias
the Doctor." Stop looking into Marian Marsh's
eyes long enough to take a big bow, Dick, old boy
CHANGE YOUR STYLE, JANET
I watched Janet Gaynor make a tremendous
hit in "7th Heaven" and ever since she has
done nothing but this one type of picture,
which by this time is so trite that I find myself
reluctant to go to one of the Gaynor films.
Sanford Payne, Jr., Mount Vernon, Wash.
NOW PARSE THAT SENTENCE
When the cast is superb, the story unflag-
gingly interesting, the photographer superla-
tive, every detail perfect — the star uses an un-
grammatical expression.
I refer to "Shanghai Express" where, at the
end, Marlene Dietrich says to Clive Brook,
"Nobody is here but you and I." How could
the director overlook something so glaring?
When the picture is shown in England, our
cousins there will have just another chance to
smile at our ignorance.
Louise Braun, New York City
SAVE JIMMY DUNN
I was tremendously impressed by James
Dunn's wonderful performance in "Bad Girl."
But " Dance Team " was a sad disappointment.
Jimmy's attractive crooked smile was worked
overtime and the self conceit which was amus-
ing when it first made its appearance in "Bad
Girl" was repeated ad nauseum. Can't some-
thing be done to save this new star from im-
pending destruction?
John T. Opie, Whipple, Ariz.
NO MORE STAR THROWING
What right had Warner Brothers to make
James Cagney a star? The "Public Enemy"
was a good picture and "Blonde Crazy" was
okay but in my home town he is liked by about
one out of every ten.
I don't see why producers should throw stars
at the public and say, "Here they are — take
them. " The public likes to make its own stars
and the quicker the producers find this out the
better.
Harold E. Bell, Danville, Pa.
MORE VARIETY WANTED
"Frankenstein" and "Dr. Jekyll" were suc-
cesses, so all the producers began to turn out
horror pictures. "Arrowsmith" was a near-
great so Barthelmess, Ayres and others turned
doctors. "Possession" wasn't so bad, but
"Forbidden" was an imitation. "The Di-
vorcee" was pretty good, and Norma Shearer
has made a half dozen of the same type. The
"Grand Hotel" style has been copied. And I
suppose the great success of "Tarzan" will
have every male star except George Arliss
swinging from the tree tops.
But the audiences want variety and origi-
nality, not a lot of immature copying of various
trends.
Randolph Miller, New Haven, Conn.
WE MAKE THREE GUESSES
My mother who is deaf, but far from dumb,
attended a movie a few nights ago, and, not
being able to hear all that was said, finally de-
cided that the heroine of the story was playing
the role of a feeble minded girl. She was as-
tonished to learn that the actress was only try-
ing toj be glamorous.
I won't mention any names but will let you
guess.
Elizabeth Dawson, Indianapolis, Ind.
YOU'RE WELCOME
I want to thank Photoplay and Genevieve
Tobin.
A month ago I was in a serious accident.
My head and forehead were badly cut and I
realized that I would be left for life with an
ugly scar, which threatened to ruin my stage
career.
Then I saw a picture of Genevieve Tobin's
new hair cut in Photoplay. She was wearing
bangs.
I had my hair cut in this fashion and the
scar is perfectly hidden.
Adele Jolane, Denver, Colo.
SCHOOL MA'RM HARDING
I am the mother of a fourteen year old girl.
For the past few months I have been greatly
concerned because she thought it smart to use
all the latest — and the worst — slang. And she
would pay no attention to my corrections.
Then came a sudden change. Her newest
screen idol is Ann Harding and her chief in-
terest in life is to speak as beautifully and in as
refined a manner as Ann does. She has dis-
continued her use of slang and watches her
English very closely.
She will not miss one of Ann Harding's pic-
tures and I take great satisfaction in taking her.
Mrs. Elizabeth Combs, San Bernardino,
Calif.
"WET PARADE"
The movies are making us realize the neces-
sity of readjusting some things in this country
before we can sit back in a self satisfied man-
ner. A shining example of this type of pic-
ture is "The Wet Parade." Our public prob-
lems are put before us in the newspapers, but
somehow black print leaves us cold and in
the hurry and rush of the day we forget quickly.
But the human drama lived before us on the
screen shocks us into realization that some-
thing must be done.
Kay Sherman, Portland, Ore.
[ please turn to page 102 ]
11
Brief Reviews of Current Pictures
1) FROM P
• I MM \ M-G-M. — Another laurel wreath for
Mari :-uu laugh and cry
i an old servant's love I
ildren. (Feb.)
EXPERT. THE -Warners.— Chic Sale and little
homey picture from that tine
Old Man Mmick." (April)
EXPLORERS OF THE WORLD— Raspin Prod.
• -t explorers tell their
adventures in words and pictures. {Feb.)
FALSE MADONNA. THE— Paramount.— This
I laugh but it hits your heart. Kay
iod. but a new boy. John Breeden. steals
the show, yjiin.)
I \MOUS FERGUSON CASE. THE— First X .-
D Blondell in an exciting and n
iw journalism. (May)
FILE Hi — Allied Pictures. — Crimes solved while
lit, But if you're wise you won't wait, (M
FINAL EDITION— Columbia.— A worthwhile
;>er story packed with punches, political in-
trigue and murders. {April)
FIRKM \V SWF. MY CHILD— First National.
— Don't be misled by the title. This is a baseball
picture and a good one. Joe E. Brown. {April)
• FLYING HIGH— M-G-M.— Comedy with
snappy music used in just the right places.
Good dancing, good singing. Bert Lahr and Char-
lotte Greenwood. {Jan.)
FOOL'S ADVICE. A— Frank Fay Prod.— Frank
Fay produced and acted in this. (April)
FORBIDDEN— Columbia.— Barbara Stanwyck.
Adolphe Menjou and Ralph Bellamy give fine per-
formances in a gloomy "wages of sin'' story. (Feb.)
FORGOTTEN WOMEN— MonogTam.— A bevy
of beautiful girls almost saves this dull yarn about a
newspaper reporter — but not quite! (March)
• FRANKENSTEIN — Universal. — Not for
faint-hearted folks. This is strong horror stuff
which leaves you breathless. But what does that
matter? See it. Boris Karloff out-terrors Lon
Chaney. (Jar..)
FREAKS — M-G-M.— A vivid story of the sordid
lives of the pathetic side-show folks. (March)
FREIGHTERS OF DESTINY— RKO-Pathe.—
Cowboy songs and good comedy put the ginger in
this Western with Tom Keane and Barbara Kent.
(Jan.)
GAY BUCKAROO— Allied Prod.— Hoot Gibson
does his best. Roy D'Arcy his worst and Merna Ken-
nedy her sweetest in this formula Western. (Jan.)
GAY CABALLERO, THE — Fox. — George
O'Brien riding "and rescuing fair damsels again.
(April)
GIRL CRAZY— Radio Pictures.— Wheeler and
Woolsey in a hodge-podge musical comedy with
Mitzi Green doing those marvelous imitations of
famous stars. (May)
GIRL OF THE RIO— Radio Pictures— U
D>-1 !< k strong in this mildly interesting
talk:. The Dove." (Feb.)
• GIRLS ABOUT TOWN— Paramount.— The
old E i up in new
clothe-. K :>d Lilyan Tashman wear the
clothes and speak those smart lines. {Dec.)
GOOD SPORT— Fox— Whistle the story— it's
that old and that familiar. But it lias good dialogue
and Linda Watkins. (Jan.)
• GRAND HOTEL— M-G-M.— Garbo. Joan
Crawford. Lionel and Jack Barrymore. Wallace
all together in Vicki Baum 's famous play.
And each performance is a gem. You'll never forgive
yourself if you miss this. (M
• GREEKS HAD A WORD FOR THEM.
THE — United Artists. — Sophisticated, smart
and different — honestly! Ina Claire. Madge Evans
and Joan Blondell are the three gold diggers. Not
for children. (Feb.)
GRIEF STREET— Chesterfield.— A wobbly mys-
tery story with pretty Barbara Kent and John
Holland. Save your time. (Dec.)
GUILTY' GENERATION, THE— Columbia.—
No machine guns but plenty of action in this beer feud
drama. Leo Carrillo stars. (Jan.)
• HATCHET MAN. THE— First National —
Eddie Robinson goes in for Tong wars and
gives a striking performance. -Loretta Young, as a
Chinese girl, is lovely. (March)
HEARTBREAK— Fox.— This has a war back-
ground but it's really a sweet love story. Madge
Evans (what an actress!) takes honors from Charlie
Farrell, a good actor, too. (Dec.)
HEART OF NEW YORK. THE— War-
Dale and Smith, those funny Jewish comedians, in a
gag a minute. Short on storv but long on laughs.
(May)
• HELL DIVERS— M-G-M— Wallace Beery,
Clark Gable and the United States Naval Air
Forces turn out a picture of peacetime aviation you
won't forget. J
• HELL'S HOUSE-Ziedman Prod.- ^Reviewed
under the title "Juvenile Court" i. Have
yourself a good cry over this excellent and pathetic
storv. Junior Durkin and Pat O'Brien are splendid.
(Feb.)
HER MAJESTY' LOVE— First National— Mar-
ilyn Miller, as a beautiful barmaid, tosses off songs
between every glass of beer. This is light, but pleas-
antly entertaining. (Jan.)
HIGH PRESSURE— Warners.— A breezy Bill
Powell picture of the "Get-Rich-Quick Wallingiord"
tvpe. Both Powell and Evelyn Brent are splendid.
(March.)
HIS WOMAN — Paramount. — Gary' Cooper and
Claudette Colbert try" hard but a baby steals the
picture with its lusty bawling. Claudette plays a
tarnished lady. (Jan.)
HOTEL CONTINENTAL— Tiffany Prod.— Sus-
pense, action and lavish sets make this story of hidden
plunder and a crook entertaining film fare. (April)
HOUSE DIVIDED, A— Universal— Life in the
raw with Walter Huston as a hard-boiled sea captain
whose wife falls in love with his son. Huston is grand.
(Jan.)
Ill RRICANB HORSEMEN. THE— Willis Kent
Prod. — A fast moving thriller, with plenty of Spanish
atmosphere. Lane Chandler has the stuff. (Dec.)
Ill SBAND'S HOLIDAY — Paramount.— Clive
Brook vacillates between wife and seductive siren.
Amusing enough. (Feb.)
• IMPATIENT MAIDEN. THE— Universal.—
Lew Ayres thinks he should make a "good
woman" of Mae Clarke but she has other ideas. So
they make a good movie. (April)
IN LINE OF DUTY— Monogram Prod.— The
vest Mounted Police get their man again. This
time it's Noah Beery. Sue Carol is the girl. (Dec.)
IS THERE JUSTICE?— Thrill-O-Drama— In
spite of a good cast this yarn about attorneys, crooks
and newspaper reporters just isn't there. (Feb.)
IT'S TOUGH TO BE FAMOUS— First National.
— Doug Fairbanks. Jr. is gTeat as a national hero in a
story' with a brand-new theme. Mary Brian plays
his wife. ( I
KEEPERS OF YOUTH— Best International Pic-
tures.— Evils of the private school system in Eng-
land. Heigh-ho. don t bother. {May)
• LADIES OF THE BIG HOUSE— Para-
mount.— An emotional story about women
prisoners, with some terrific scenes you'll never forget.
Sylvia Sidney does her best work. {Feb.)
• LADIES OF THE JURY— Radio Pictures —
This movie is one of the big laugh-makers of
film history. And Edna May Oliver — but you know
how swell she is! Take the children. (Feb.)
• LADY WITH A PAST— RKO-Pathe.—
Connie Bennett as a real person this time.
You'll be sorry if you miss it. (April)
LAW AND ORDER— Universal.— Entertaining
ry pistol shot, this blood and thunder Western
with Walter Huston and Harry Carey. Nary' a woman
in the cast. May)
LAW OF THE TONGS— Willis Kent Prod— A
Chinaman is the gentle hero in this melodrama.
You'll shed a tear or two over his death. {Feb.)
LAW OF THE WEST— Sono Art-World Wide.—
The same old gun plav and hard riding. Bob Steele.
(May)
LEFTOVER LADIES— Tiffany Prod.— Divorcees
talk a lot about careers and freedom in dreary
dialogue. Claudia Dell, in a brunette wig, is good.
(Dec.)
LOCAL BAD MAN, THE— Allied Pictur
mild Western with Hoot Gibson gone naive. (.'.
• LOCAL BOY MAKES GOOD— Fir
tional. — Joe E. Brown is funnier than 1.
been, in this story' of a college grind with inh:
and botanical aspirations. (Dec.)
• LOST SQUADRON. THE— Radio P
— A fine, behind-the-screen aviation picture
about an unscrupulous director who sacrifices every-
thing for realism. (April)
[ PLEASE ITTKN TO PAGE 14 ]
Photoplays Reviewed in the Shadow Stage This Issue
Save this magazine — refer to the criticisms before you pic\ out your evening's entertainment. lAa\e this your reference list.
Page
Avalanche — First Division 123
Behind Stone Walls — Mayfair Pictures 124
Big Timer. The — Columbia 123
Congress Dances — UFA-United Artists.123
County Fair. The — Monogram 123
Discarded Lovers — Tower Prod 123
Doomed Battalion, The — Universal . 48
Golden Mountain? — Amkino 124
High Speed — Columbia .124
Information Kid. The — Universal 51
Letty Lynton— M-G-M 48
Love Round — Peerless Prod 124
Man Wanted — Warners 51
Page
Midnight Patrol, The — Monogram. . . . 124
Misleading Lady. The — Paramount. . . 51
Missing Rembrandt, The — First Divi-
sion 123
Mouthpiece. The — Warners ;"
Xight Court— M-G-M 4"
Police Court — Monogram 124
Probation — Chesterfield 123
Rich Are Always With L's. The — First
Xational 50
Ronny— UFA 124
Scandal for Sale— Universal
Shopworn — Columbia 51
Page
Sin's Pay Day — Action Pictures. ... 123
Strange Case of Clara Deane, The —
Paramount 51
Strange Love of Molly Louvain, The —
First Xational 50
Symphony of Sis Million — Radio Pic-
tures 4<)
Theft of the Mona Lisa. The— Tobis 1 24
This Is the Xight— Paramount 4S
Trial of Vivienne Ware. The — Fox. 49
Two Seconds — First Xational =1 1
When a Feller Xeeds a Friend— M-G-M 50
Young America — Fox 50
IS
Photoplay Magazine for June, 1932
:3
The most sensational picture since "ALL
QUIET ON THE WESTERN FRONT"
which was the greatest picture of all time.
Grim war on the Summit of the Austrian
Alps. Italy and Austria locked in a death
embrace where vast snows are eternal and
yawning chasms and precipitous cliffs add
to the hazards of war.
Once again UNIVERSALIS supremacy
is made manifest.
Varconi, Henry Armetta,
Gustav von Seyffertitz. A
Marcel Vandal and Charles
Delac Production directed
by Cyril Gardner. Pro-
duced by Carl Laemmle,
Jr. Associate Producer,
Paul Kohner,
Tala Birell
UNIVERSAL PICTURES
UNIVERSAL CITY, CALIF.
/ f
CARL>rLc^en^MLE * / 730 FIFTH AVE., NEW YORK
'4
Photoplay Magazine for June, 1932
Can You
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it difficult to make "ends"
meet these days — but there is a
way that you can increase your
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PHOTOPLAY is looking for
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sentatives everywhere. The
work does not require special
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earnings are large, depending <
upon the time devoted.
Some of the features that will
help you sell PHOTOPLAY <
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Truthful reviews of current
pictures.
Stories about your favorite
stars.
"Monthly Broadcast from
Hollywood."
The general beauty of its roto-
gravure and duotone color
sections.
Foremost among the features
exclusive in PHOTOPLAY are
the Hollywood fashions by
Seymour — and now "THE
HOLLYWOOD BEAUTY
SHOP" in which Miss Van
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Brief Reviews of Current Pictures
[ CONTINUED PSOll PAGE 12 )
• LOVERS COURAGEOUS — M-G-M. — An
old story done beautifully by Hob Montgomery
and Madge- Evans. You'll li k<_- it. (March)
LOVE STORM, THE — British International.—
Three men and one woman are exiled to a lighthouse.
Even a murder doesn't speed things up. Dreary fare.
MAKER OF MEN— Columbia.— A football
coach is the hero of this appealing, if slight!;,
moving storv. Good work by Richard Cromwell and
Jack Holt. (Feb.)
MANHATTAN PARADE— Warners.— Broadway
gets a chance to see itself satirized. Laughs by the
vaudeville team of Dale and Smith, helped by Win-
litner and Charles Butterworth. Technicolor.
[Fa.)
MAN WHO PLAYED GOD. THE— Warners.—
An unusual theme, with George Arliss dominating the
picture. Decidedly worth your while. (March)
• MATA HARI— M-G-M.— Garbo and Novarro
are co-starred in a glittering story of the most
romantic of all war spies. Grand supporting cast in-
cludes Lionel Barrymore and Lewis Stone. (Feb.)
MENACE, THE— Columbia.— Recommended for
ardent mystery fans only. (April)
MEN IN HER LIFE— Columbia.— The dialogue
crackles, but the old story creaks. All about a rich
girl in Europe and a rough and ready American. Lois
Moran and Charles Bickford both good. (Jan.)
MEN OF CHANCE— Radio Pictures.— The old
story of the woes of a gambler's wife, well acted by
Ricardo Cortez and Mary Astor. (Feb.)
MICHAEL AND MARY— Universal.— Matinee
idol Herbert Marshall should have better material
than this slow moving English film. Wife Edna Best
plays opposite him. (March)
• MIRACLE MAN, THE— Paramount.— The
talkie version of your old favorite doesn't make
film history as the silent picture did. but its treat-
ment is excellent. Chester Morris and Sylvia Sidney.
(May)
MONSTER WALKS, THE— Action Pictures —
Another horror picture. (April)
MORALS FOR WOMEN— Tiffany Prod.— This
"it's the woman who pays'' yarn takes a couple of new
routes and brings back trouper Bessie Love. (Jan.)
MURDER AT DAWN— Big Four Prod.— A
grizzly mystery yarn in which the actors are more con-
fused but not as amused as the audience. (April)
• MURDERS IN THE RUE MORGUE—
Universal. — Here's another shocker for you
with plenty of thrills and chills. Bela Lugosi and the
ape deserve a big hand. (March)
MY WIFE'S FAMILY— Best International Pic-
tures.— Old, old gags in an old. old farce. (May)
NECK AND NECK— Thrill-O-Drama.— Only
Stepin Fetchit's funny face and voice save this dull
race-track story from a complete case of the dol-
drums. (Jan.)
NICE WOMEN— Universal.— A trite plot proves
entertaining because of Sidney Fox, Russell Gleason
and Frances Dee. (April)
NIGHT BEAT— Action Pictures— Unless you
simply can't exist without another gangster picture,
pass this one by. (March)
NIGHT RAID (Un Soir De Rafle) — Osso Prod.
— A lively French film about a prize-fighter, his real
sweetheart and a siren. Amusing. (Dec.)
NO ONE MAN — Paramount. — Sumptuous
clothes, gorgeous sets, smooth direction, Carole
Lombard and Paul Lukas almost make up for the
tottering plot. (March)
ONCE A LADY — Paramount. — Charming sim-
plicity and Ruth Chatterton's acting redeem a not too
original story. [Dec.)
• ONE HOUR WITH YOU— Paramount— A
gay, naughty farce with Maurice Chevalier and
Jeanette MacDonald. It has music and grand
Lubitsch touches. {April)
ONE WAY TRAIL, THE— Columbia.— The Kids
will love these exciting adventures of handsome Tim
McCoy. (Dec.)
OPERA BALL — Greenbaum-Emelka Prod. —
English lines flashed on the screen make it possible
for you to enioy this sprightly German production of
Viennese night life. (Jan.)
• OVER THE HILL— Fox— Mae Marsh's
screen return as the self-sacrificing mother un-
wanted by her children. Jimmie Dunn and Sally
Eilers, too. (Jan.)
PANAMA FLO— RKO-Pathe.— Different situa-
tions went haywire in a potpourri of speakeasies,
honkey-tonks and jungl«s. So what could Helen
Twelvetrccs and Charlie Bickford do? (March)
• PASSIONATE PLUMBER, THE— M-G-M.
— This couldn't be crazier, but it's as funny as
it's crazy.
(Apr, I)
Buster Keaton and Jimmy Durante.
PEACH O'RENO—RadioPictures.— Bert Wheeler
and Robert Woolsey in an absurd plot concoction of
Reno's divorce colony. Short on romance but long on
laughs. (Jan.)
• PLATINUM BLONDE— Columbia.— Youth
and beauty, comedy and drama — and Jean
Harlow. A well done newspaper yarn. See it. (Dec.)
PLAY GIRL— Warners— Loretta Young and
Norman Foster in an <ntertaining enough play that
tries to settle this marriage-or-career-business, but
doesn't. (May)
POCATELLO KID, THE— Tiffany Prod— Ken
Maynard in another Wild Western setting; Marceline
Day, the lady in distress. (Feb.)
POLLY OF THE CIRCUS— M-G-M— Marion
Da vies and Clark Gable in a modernized version of an
old favorite. (April)
• POSSESSED— M-G-M.— What a pair Joan
Crawford and Clark Gable make in a picture
that has plenty of action, sophistication, and gorgeous
clothes. (Jan.)
PRESTIGE— RKO-Pathe. — Ann Harding is
lovely, which doesn't quite compensate for this hap-
hazard yarn about a tropical penal colony. (March)
• PRIVATE LIVES— M-G-M— Norma Shearer
and Bob Montgomery do good team work in
this farce made amusing by priceless, if risque, lines.
You one hundred per cent sophisticates will have
yourselves a fling. (Feb.)
RACING YOUTH— Universal— If you aren't too
critical, you'll enjoy this story of automobile road
racing with Frank Albertson, June Clyde and Louise
Fazenda. (Jan.)
RAINBOW TRAIL.— Fox. — GeorgeO'Brien tries
to make a weak Western come to life. (Feb.)
RANGE FEUD, THE— Columbia.— Buck Jones
may be your favorite Western star but you'll twiddle
your thumbs at this banal old story. (Dec.)
RANGE LAW— Tiffany Prod.— This Western
taxes the credulity but Ken Maynard does some slick
riding. (Jan.)
RICH MAN'S FOLLY— Paramount. — One of
those stark dramas in which George Bancroft as an
ambitious shipbuilder wrings sympathy out of an un-
sympathetic role. (Jan.)
RIDERS OF THE PURPLE SAGE— Fox —A
grand Western with fast action, grand Arizona
scenery and marvelous production. George O'Brien
and Marguerite Churchill excellent. (Dec.)
ROAD TO LIFE, THE— Amkino— How the
Soviet government turned the wild children of
Moscow into able citizens. Russian dialogue with
English titles. (April)
SADDLE BUSTER, THE — RKO-Pathe. — A
Western without a shot fired. (April)
SAFE IN HELL— First National.— The only re-
deeming thing about this sordid story' of a shady lady
is the work of Dorothy Mackaill. who deserves belter
stuff. (Jan.)
SALLY OF THE SUBWAY— Action Pictures —
ry of high-class crooks. Entertaining enough.
(Apr, I)
• SCARF ACE— United Artists.— The gangster
picture of all time. A masterpiece that belongs
to no cycle. Horrible and fearless, with Paul Muni
in one of the great characterizations of the screen.
SECRET SERVICE— Radio Pictures— Adven-
tures of a Northern spy behind the Confederate lines.
Richard Dix tries too hard. (Dei.)
[ PLEASE TURN TO PAGE 126 1
Photoplay Magazine for June, 1932
THE
GREATEST
CAST
I N STAGE
OR SCREEN
HISTORY!
JOHN
GARBOBARRYMORE
JOAN
WALLACE
CRAWFORD-BEERY
BARRYMORE
LIONEL
HOTJ
with LEWIS STONE
JEAN HERSHOLT
The play that gripped New
York for a solid year — and
toured America with many
road companies. Now it is on
the screen — long heralded —
eagerly awaited — and when
you see it you will experience
the biggest thrill of all your
picture-going days.
An EDMUND
GOULDING
production
METRO-GOLDWYN-MAYER'S PROUDEST TRIUMPH!
i6
Photoplay Magazine ior June, 1932
Joan I)i omm i L, vivacious featured player of Warner
equally pleasing '" a smart bathing suit or
iii a softly fashioned evening zo-j.ii of net and silver
sequins. Her strut costume of navy and white is
one oj the season's newest notes.
ARE AS IMPORTANT AS COMPLEXIONS
No longer can we dare ignore
our figure. Dame Fashion has
decreed that feminine curves must
show themselves — whether in sports-
togs or in the clinging, revealing
evening gown.
Fortunately, these modern clothes
require the figure of normal woman-
hood. To be chic, we must retain our
health and beauty while reducing.
A primary rule of health is proper
elimination. Otherwise, sallow skins,
wrinkles, pimples, premature aging,
loss of appetite and energy may result.
Faulty elimination is caused by lack
of two things in the diet: "Bulk" and
Vitamin B — both of which help tone
the system.
Today you can obtain both of these
dietary necessities in Kellogg's All-
Bran. Its bulk is similar to that of
leafy vegetables. Two tablespoonfuls
daily will prevent and relieve most
types of improper elimination.
How much better it is to enjoy this
delicious "cereal way" than to risk
taking pills and drugs — so often harm-
ful and habit-forming.
Another thing, All-Bran furnishes
iron to build blood, and help prevent
dietary anemia. Tests show that All-
Bran contains twice as much blood-
building iron as an equal amount by
weight of beef liver.
Enjoy as a cereal, or use in making
fluffy muffins, breads, omelets, etc.
All-Bran is not fattening. Recom-
mended by dietitians. Look for the
red-and-green package at your gro-
cer's. Made by Kellogg in Battle
Creek.
WRITE FOR FREE BOOKLET
"CHARM"
Leading motion-picture actresses are
shown in "fashion close-ups." wear-
ing the costumes that millions of
critical eyes will see on the screen.
Everything from spnrts-togs to eve-
ning gowns. In addition, the book-
let is full of valuable facts on how
to reduce wisely. Free upon request.
KELLOGCx COMPANY
Dept. D-6, Battle Creek, Michigan
Please send me a free copy of your
booklet, "CHARM."
S cimc-
Addrcss-
G
ivmg
J\ Bridge Ljuncheon*
EVERYONE has gone contract bridge mad out here in
Hollywood. Whenever there is a lull at the studios, you
will find the cinema elite doing a "talkie" over the bridge
tables. And the popular prelude to these card sessions,
is luncheon.
I have found bridge luncheons in Hollywood so fascinating
as to menus, that I thought you would enjoy hearing about a
recent one. Of course, you can adapt these suggestions to your
own particular tastes, perhaps using only one or two of the
dishes I am going to describe.
For instance, squab is not always available as a luncheon
delicacy — in its place you can substitute chicken.
To return to this particular luncheon. Anita Page and
Maureen O'Sullivan were two of the twelve guests — don't they
look charming in the costumes they wore?
The menu included: boned squab with wild rice dressing,
Parisienne potatoes, orange cup, new peas in souffle cups,
thimble biscuits, vegetable aspic
salad, strawberry sherbet with
small assorted cakes, and coffee.
The squab and its complements
were attractively arranged on
one plate as you can see in the
picture, above.
The hostess said her cook had
a way with squab — they tasted
it! Here's how she prepares
them:
Boned Squab
Select one plump squab for
each plate. Lay the squab on a
board, cut carefully on under-
side so that the top is whole, re-
move all bones. Stuff with the
Photoplay Magazine
919 N. Michigan Ave., Chicago, 111.
Please send me a copy of Photoplay's Famous
Cook Book, containing 150 favorite recipes of the
stars. I am enclosing twenty-five cents.
wild rice. Roll and wrap in oiled paper. Then bake until
tender. Serve with a broiled mushroom as garnishment.
The wild rice dressing is made of wild rice that has been
cooked two days previously and kept on ice. The rice should
be boiled for forty-five minutes or longer. Mix it with season-
ing, chopped green onions and chopped bacon.
On the plate with the squab goes an orange cut in the shape
of a basket. After you have removed all the pulp and cut the
handle, fill with diced fruit topped with currant jelly.
Parisienne potatoes are round potato balls, French fried.
Vegetable Aspic Salad
Fill individual molds with vegetables arranged in layers.
Try to alternate or blend the colors as green peas, then diced
carrots, mixed green peppers, diced celery and finally, shredded
pineapple and cabbage. Top each with a sliver of pimento.
Pour enough lime aspic over
this to fill the mold. Chill thor-
oughly and serve on hearts of let-
tuce with buttons of mayonnaise
and rosebud-cut radishes.
Be sure to write name and address plainly.
You may send either stamps or coin.
Strawberry Sherbet
Use two cups of water, 1 cup
of sugar, three-quarters of a cup
of strawberries, mashed fine.
Boil your sugar and water for
twenty minutes, then let it cool.
Add the fruit and freeze. This
amount will serve four people —
add to the consistency for a
larger service. You can freeze
this in molds or in one dish.
17
Photoplay Magazine for June, 1932
NCE
w
FOUR liours ago ho hadn't dreamed he could kiss
this beautiful and famous woman.
I hey had been strangers then, though across the
damask of the candle-lit table their eyes met in eager
challenge. Gridley, no less than she, had always
scoffed at the idea of love at first sight. But tonight,
at their first meeting, they did not sneer.
And now he was holding her in his arms . . . her warm
lips on his in a kiss half of yearning, half of tender
ness. One kiss. . . and only one. It might have
carried them to the altar. Instead, it parted
them forever.
For in the instant that his lips held hers
he knew that she was not the woman for
him. He knew the reason, too. But she
didn't . . . and probably never will. It
is a matter people do not discuss.
No one is immune
Halitosis (unpleasant breath) is un-
pardonable— repellent in either man or
woman. It breaks up many a friendship,
romance, and occasionally a marriage
The insidious thing about it is that you
yourself never know when you have it, and
even your best friend won't tell you; the sub
ject is too delicate. The same applies to the
presence of body odors which are second only
to halitosis in their power to offend others.
Why risk either? Why not make sure that your
breath is sweet and agreeable? Why not take pre-
cautions against body odors?
Swift deodorant power
Halitosis yields immediately to Listerine, the quick-
est of deodorants. Simply gargle with it every night
and morning, and between times before meeting
others. Don't waste your time with ordinary anti-
septics; it takes them 12 hours or more to get rid of
odors that Listerine conquers instantly.
After your bath, Listerine
Body odors, including that of perspiration, are the
result of a chemical action in tiny glands. No mere
washing with soap and water will remove these odors.
That is why we say to you: after your bath, apply
Listerine to the guilty areas. It checks body odors
without altering or impairing natural functions.
Keep Listerine always handy in home and office.
Carry a bottle in your handbag and the side pocket
of your car. It is your protection against infection in
an emergency, and your constant assurance that you
won't offend others.
By the way, we have a small but useful book of
etiquette that tells you what to wear. do. and say
a I formal and informal occasions. A copy will be sent
to you free if you will write Dept. 1>. II. 6. Lambert
Pharmacal Company. St. Louis, Mo.
LISTERINE ends HALIT
MEET Hollywood's newest working wife. Joan Bennett
wanted to take a long honeymoon with her husband, Gene
Markey. Fox Studio said a polite, "Nix, we need you in our
pictures!" So they hurried back from a two weeks' trip and Joan
began work on 'The Trial of Vivienne Ware." They say it's great
Bachrach
A FEW years ago this girl begged for a job posing for commer-
cial photographers. Then she was awkward, badly dressed,
glum. But the camera saw something that escaped the eye. She
became New York's $50-an-hour model and is now Richard Dixs
leading woman. Gwili Andre, of Denmark, has what it takes
Gaston Longet
HERE'S another new girl, Phyllis Clare. Looks like Lois Wilson
— yes? — with a dash of Chatterton in that smile. Why
does she have a picture of Joel McCrea on her arm? A new fad,
Genevieve. She sits in the sun and after awhile her favorite
actor's silhouette is tanned upon her arm. Silly idea, but cute
Russ,ll Hull
1\ /T ARY PICKFORD is going to make another picture. "I can't
■*•*-!■ let people remember me in 'Kiki'," she says. She has two
stories and will begin work as soon as she decides which to
use. Here is Mary's latest photograph, taken for Photoplay
in her Beverly Hills home. Never more youthful and charming
tjour FACG^T^ccint take a holiday
$y ^"\/"OU'RE planning a week-
y:
end in the country, or a
Summer abroad. New clothes . . . new
scenes . . . new friends!
But — your face can't go on vacation.
It's your chief representative to your
world — whether you're in Pleasantville
or Paris, at a dance or at your desk.
And you can't change your face, as you
do your frocks, or locale! But — you
can give it a lovely, natural'toned finish
which clings without clogging — and
that, you know, is the very fine Face
Powder made by Coty !
Coty Face Powder offers you twelve
skin'true tones from which to make a
selection. Doesn't your one and only
face deserve this care? Today would
be a good time to choose the delicately
fragrant Coty tone that's an accurate
twin to your coloring . . . Remember,
too, Coty's delightful Dusting Powder!
"Poudre apr'es le Bam" if you prefer it
in French; certainly you'll prefer it in
use, it's so pleasant after your tub — so
cooling after sun baths. In waterproof'
base box, with lamb's wool puff.
Loo\ for the powder-puff box! It's
your guide both to Coty Dusting Pow
der, $1.50, and to Coty Face Powder, $1.
TO YOUR
THIRST'S
CONTENT/
l\ pure, wholesome
drink of natural flavors.
With a taste thrill and a
cool, delightful after-sense
of refreshment . . . Served at
more than 8 hundred thou-
sand soda fountains and
refreshment stands. There's
nothing else like it — and
it's only a nickel.
THE COCA COLA COMPANY
ATLANTA, GA
Genevieve Tobin — Universal Pictures
See her in "Back Street"
THE DRINK THAT MAKES A PAUSE REFRESHING
Close-Ups and Long-Shots
w
HEN the final results
of the national motion
picture preference poll,
which Will Hays is conducting,
are announced, it ought to put
an end to all this claptrap about
the low intelligence average of us
motion picture fans.
Thousands of our leading citi-
zens, from scientists and churchmen to bankers and
society leaders, have been questioned, and if we are
morons so are they.
Our intellectuals, some of whom have thrown mud
at pictures, admit they go in for broad comedies.
Scientists and statesmen prefer the same screen fare
as plumbers and barbers. Society leaders are as inter-
ested in Greta Garbo and Marlene Dietrich as are
ladies who wash their own dishes.
Texas Guinan voted for historical and inspirational
themes, good old uplift stuff, while Professor Ray-
mond Pearl of Johns Hopkins, quite a hot dog among
our leading biologists, wants thrillers for mental
relaxation. Henry L. Mencken, section boss of a gang
of America's intellectuals, wants his comedy straight,
the lower the better, while his old pal, Aimee Semple
McPherson, wants "a deeper spiritual touch."
Who's a moron now?
JACKIE COOPER, whose salary runs into four
figures a week, is allowed fifty cents each week for
spending money. And to Jackie, who hasn't the
slightest notion of how much he earns, that fifty cents
looks like the inside of Mellon's bank.
Recently, Jackie came upon an independent motion
picture company at work on the beach. He became
friends with one of the extra children.
"How much do you get?" Jackie asked the extra
boy.
"Five dollars," the boy replied.
"Five dollars!" Jackie gasped. "Gee," he said, his
eyes round as moons. "You must be good. I only
get fifty cents a week."
HUNDREDS of mothers are mad at Roscoe Ates
and are making frantic appeals to have some-
thing done about it.
fluence on us kids.
Roscoe stutters on the screen.
And hundreds of little boys try to
imitate him.
Well, didn't we kids always
imitate the fellow in the butcher
shop who stuttered? We used to
drive him bughouse, as we said in
those days.
Ah, the screen is a terrible in-
Keep your mother home and she
won't be thinking of Clark Gable.
I WAS just going to write something about why
Photoplay is now the only twenty-five-cent mag-
azine in the motion picture field, when I received a
letter from a reader in Sanford, N. C, which tells the
whole story as well as I could do it myself, and with
much better grace!
TT THILE conversing with some friends, some-
** one inquired my opinion as to why the
■price of Photoplay had not been reduced, in view
of the present economic conditions . My reply was.
First, it is impossible to reduce without a sharp
reduction in quality; while at the same time Photo-
play can and does take advantage of the situation by
utilizing possible reduction of expenses to give us a
much higher quality magazine, maintaining the
same established price, which is just what we
readers want.
Second, there has been a tremendous improvement
in Photoplay. The paper on which it is printed,
the beautiful colored pictures, the reading matter —
all prove that Photoplay is placing the difference
right where it should be and where it will produce the
greatest results, both to publisher and reader.
Keep the quality and price up, and continue to
reign supreme in your field.
Gilbert W. Crltchfield.
I THANK the gentleman from North Carolina.
Photoplay could not possibly maintain its im-
proved standards with a reduced price. This depres-
sion is not going to last forever. When it is over
Photoplay may reduce its price, but when it does it
25
will not be with cheaper paper and printing and lower
editorial standards, l>nt still better and higher.
IT would add just another note of hopelessness it',
when we recover from our economic illness, we could
look ahead only to a world where all standards of
living and entertainment were permanently lowered.
It's not the price that counts. It's the value.
I ASKED a famous actor how he would compare
( rarbo and Dietrich.
" Diet rich displays all of the charm of her anatomy;
Garbo all the charm of her face. I can't compare them.
I bave never noticed Dietrich's face."
I HAVE had three experiences in the theater re-
cently that have tried my patience to the point
where, even if the picture I went to see was good, I
wouldn't like it.
First, it was at the Astor Theater, in New York. I
paid two dollars to get in. As I entered the theater
two gangsters were yelling, " Check your coats. Check
your coats here," in a loud and intimidating manner.
I started to walk by, but one of them deliberately
blocked my path, demanding my coat. I had to push
them out of my way. Then I asked the usher for a
program, only to be curtly informed they were on sale
in the lobby for twenty-five cents. After this, I sat in
the cold, old-fashioned theater for twenty-five minutes
after the announced starting time.
I WANTED to see a picture which was showing
at one of the Broadway motion picture houses. I
had an hour to spare, but only an hour. The door-
man assured me the feature would be starting in a
few minutes. For one solid hour I sat through an
annoying assortment of orchestrations, stage shows,
and badly selected short reels. I paid a dollar to
actually suffer through the mess, wasted my hour, had
to leave, and never saw one foot of the picture.
A FEW weeks later I went to see James Cagney
at still another Broadway theater. I enjoyed the
newsreel and even the travelogue about Java, but it
took all Cagney's acting and Loretta Young's fascina-
tion to make me forget the punishment of sitting
through, not one awful short "comedy," but two of
them.
PLEASE tell me, kind folks, do these things happen
in Detroit or Tulsa, or are Xew Yorkers the only
saps in the world who sit and take it instead of socking
the manager in the eye? I wonder what Jimmie
Cagney would do under the circumstances.
HERE is a letter I received this month that has a
direct bearing on that subject. It is better than
any comment I could make:
26
There are three of us in our family and we go to
the movies about twice a week. \\ '< always discuss
the feat urr illicit ire get home, bitl there is one tliiny
that annoyed all of us ami that was the shoddy
quality of the short nils they sometimes slipped <n < r.
\\ e talked to the manager of the theater ami, as a
result, he changed his short reel subjects. It just
slioirs what you can do by telling the manager what
you lil:e ami don't like. He didn't seem to realize
how important the short reels were until we spoke to
him. Now We sometimes go to the moric.sju.it because
one of our favorite two-reel comedies is being shoiru.
Mas. Mabel Humphrey,
Denver, Colo.
SHE was once a star. That is, until things began
breaking badly. Now she is seen every day along
Hollywood Boulevard and side streets with her dogs.
She seems to have many of them. But what few
suspect or know is that airing dogs for prosperous
owners is her job. With head held high, the valiant
little ex-star tramps many miles a day with her
canine charges. It's incidents like this that really
write the book of Hollywood.
IF you have any doubt that we arc living in a
machine age, just drop around to a certain make-up
laboratory in Hollywood.
They are experimenting on a scheme by which per-
fectly natural looking masks can be made of rubber.
And those weird make-ups over which poor Lon
Chaney spent hours and hours can now be slipped on
in a minute.
What's more, if the thing is a success, the features
of one player can be duplicated upon another, so if
Garbo does actually desert the screen Mi>^ Susie Zilch
from Pawtucket can put a little rubber mask on her
face and be Garbo.
HERE'S a strange sign that appeared on the
M-G-M bulletin board. "Company on loca-
tion tomorrow — blossoms permitting," it read.
Seems that certain scenes for a picture called for an
orchard in bloom. So many an extra girl's rent and
many an extra man's rations depended upon whether
or not blossoms bloomed the next day. They did.
IX Hollywood the boys who drive for the studios own
their own automobiles and rent them by the hour.
What is more, they don't like to be called "chauffeurs."
An Eastern star, who didn't understand, arrived in
town, hired one of the cars and insisted upon calling
the driver "chauffeur."
At last the lad had as much as he could stand.
"Listen," he said, "I'm not a chauffeur. I'm a driver."
"Well, what's the difference?" the star asked.
And this is the answer he shot at her:
"About one hundred dollars a month and no dogs
to wash."
Eddie Robinson was
just a good actor with-
out much box-office
drawing power until
he became a tough
guy in "Little Caesar,"
and now the "standing
room only" sign is
hung out when his
pictures come to town
Jimmy Cagney never
had his name in electric
lights until he became a
film gangster in "The
Public Enemy." Now
Paul Muni, left, in
"Scarface," makes the
others seem like nice
boys. Just watch Paul's
machine gun smoke
<!<!
CciriclCC — Paul Muni
EDWARD G. ROBIXSOX James
Cagney and Paul Muni should
say a prayer every night for Al
Capone before going to bed. He
made them what they are today.
Eddie Robinson was a good, but not too well-known, actor on
the Broadway stage. He made one picture at the Paramount
Eastern Studio and wasn't anything to cause the fans to line up
at the box-office.
His last appearance on Broadway was in a flop play, "Mr.
Samuel."
Then he played "Little Caesar" and became a sensation.
Jimmy Cagney didn't work often on the Broadway stage and
never had his name in lights. His last play on Broadway,
"Penny Arcade," was a flop. He might have remained a no-
body in Hollywood but —
He played a tough guy in "The Public Enemy" and became
a sensation.
Now the movie fans are getting ready to love another tough
guy.
Paul Muni didn't amount to anything in pictures until he
made "Scarface." He worked for Fox Films, made several
flickers, and then returned to the Main Stem. Hollywood was
no dice with him.
Like Robinson and Cagney he had to be a tough guy to click.
Those who have seen "Scarface" — and who hasn't — have
raved about his performance and the picture. Certain parts of
"Scarface" make other gangster films seem sissy.
Before "Scarface" was released, Warner Bros, signed Muni
to make one of those chain-gang pictures, which will be next
season's new cycle in talkies.
PACL MUNI, who has stepped into fame playing the role of
a gangster, was born directly across the street from a prison.
The date was September 11, 1897, and the place Lemberg — ■
now a part of Poland but then belonging to Austria.
His name was Muni Weisenfreund and he was tagged with
By Sidney Skolsky
the monicker Paul Muni when he worked
for Fox Films during that gold rush to
the Coast back in 1928. A shorter name
was needed because they wanted to give
him one that would fit in theater lights.
He comes from a family of actors, strolling players of the
Yiddish stage. He didn't wish to become an actor. It was the
business of his parents and it became his business.
He went on the stage the same as the son of a storekeeper
goes into the store to help his parents.
At the age of eleven, in the city of Cleveland, he made his
stage debut.
The character he portrayed was the president of a lodge,
sixty years old. After the performance was over he wouldn't
take off the long trousers. From that day on he wore long
pants.
Trouped about the country with his folks, always playing old
men with beards. During intermissions and between shows
he'd take off his beard, go into the alley and shoot marbles with
the kids.
He is five feet, nine, weighs 160 pounds, has brown hair,
brown eyes and a mole on his left cheek.
He has been married since May 8, 1921, to Bella Fink. She
was formerly an actress on the Yiddish stage. Their love match
was arranged for them by a friend.
After many years in the Jewish theater he made his first ap-
pearance on Broadway in the play "We Americans." Strangely
enough, he played a bearded old man of sixty. He did it so
realistically that the dramatic critics, who didn't know him,
really thought an old man was playing the role.
The second week of the show, pictures were placed in the
lobby showing Paul Muni with make-up and without make-up.
HE graduated from public school — went to kindergarten in
London and public school on the lower East side of New
York. He didn't make a go of high school. He has educated
himself by reading. [ please turn to page 109 ]
27
Hey/ Hey.
Here Comes
Johnny.'
/
!
I MIGHT as well break down and confess that I think
Johnny Weissmuller is swell.
I see no reason for holding back the fact that I've seen
"Tarzan, the Ape Man," four times.
You can have your Gables and your George Brents and your
Melvyn Douglases. But just give me Tarzan and I'll call it
square.
At the risk of being bombarded by a ton of personally auto-
graphed brickbats, I'll further add that I never quite under-
stood what all the shouting about Clark Gable was for. And
that he could slap as many glamorous gals as he chose and just
toss off a hundred dimpled smiles in my direction, and I'd ask
him if he had read any good books lately.
To tell the truth I'd begun to worry about myself — just a
little. Thought maybe my youth and enthusiasm was begin-
ning to wear around the edges — like Marlene Dietrich's eye-
lashes. Because if I could sit in a theater and say about Clark
Gable, "Sure, he's all right, but there are lots of other guys,"
there must be something wrong with me.
And I'd hear the other girls rave about all these big, hand-
some he-men and I'd wish I could just go away to some quiet
spot and lie down.
And then I sat in a little projection room and watched
"Tarzan, the Ape Man." As the first reel unwound I thought.
"This is hokum — you can't kid me; it's just a lot of left-over
animals from 'Trader Horn,' " when all of a sudden a figure
came swinging through the trees and a weird call pierced the
microphones and there was Johnny Weissmuller, and I said to
myself, "Old girl, you're not as ancient as you thought you
were."
And all during the rest of the picture I kept trying to tell
myself that it was just a movie and I really shouldn't carry on
like that — but it was no use. All Johnny had to do was to yell
"Yoo-hoo, yoo-oh-oh-oh" and leap down out of a tree on a
tiger's back, and home, mother and the little kiddies waiting
for me were forgotten.
NOW, the joke of it was that I thought I was unique. I
thought I had discovered somebody and that maybe I was
more primitive than I looked — in my new fifteen-dollar spring
hat. But when the picture was over — and I found that I really
could breathe after all — I began to hear, out of the fog, such
ravings as I've never heard before.
Fifteen of New York's most "you gotta show me" newspaper
and magazine women, who had seen the preview with me, were
besieging one poor M-G-M press-agent with, "Where has this
guv been hiding all mv life? " and " When does that baby get to
town?"
Nor was it any different when the picture was released. The
afternoon that "Tarzan" opened at the Capitol Theater,
Photoplay's office was as womanlcss as an 1890 barber shop.
The girls had all sneaked off to see Johnny and when they came
back it didn't make much difference. You couldn't get a
nickel's worth of work out of anv of them. "Wasn't he swell
28
"Tarzan' Weissmuller
swings into pictures, and
do the girls rave ? Just lis-
ten to Photoplay's cynic —
Katherine Albert
when he started cutting through the water," and "Gee,
Maureen O'Sullivan is a lucky girl," and " Say, how'd you like
to be running around in the tree tops with a guy like that?"
That's all you got when you asked would somebody mind
taking a wire for you.
It seems I'm not so unique after all. Me and eight million
other girls have gone Weissmuller. And I'm even thinking of
learning to swim this summer.
So Johnny simply set New York and all points West on its
collective ear.
And then I met him. He came into Photoplay's office —
work absolutely stopped and three girls fainted. With note-
book and pencil in hand I tore after him — on the pretext of
getting a story. • But I had to wait just a minute. When I
asked him where he was born he couldn't say anything just
then for he was leaping from the file cabinet marked "A to J "
to the one marked "Personal — Confidential," just to prove
that he really had done that swinging stuff through the trees
and hadn't used a double.
And not a bit tired from all this, he strolled nonchalantly
Yes, girls, Johnny Weissmuller is married. But if it had not been
for his wife, Bobbe Arnst, a musical comedy star, he would never
have had that role in "Tarzan, the Ape Man." They met in Florida
over a year ago, were married almost immediately and continue to
be much in love. They both like to swim, to play golf and to dance
Johnny is a mighty handsome lad even in
his street clothes, but the Hollywood girls
didn't give him much of a tumble. With no
advance publicity he just came swinging
along in "Tarzan," and you discovered him
into my office — just slightly bumping his head on
my door.
He stretched his legs out in front of him as he
sat down, and there was hardly room left for me
and my typewriter. And then he looked be-
wildered.
For Johnny is the most bewildered gent I've
seen since the Civil War.
"You see," he said, "I thought I was making a
picture for kids. Honest — everything I did, I
said to myself, 'I'll bet the kids will like this.' I
didn't know that — that — "
THAT ten thousand girls would fall for you."
Johnny blushed underneath his tan. "Well,
yes," he said modestly. "You see, when I was a
kid I used to like Doug Fairbanks, Sr., and I
thought if I jumped around enough, as Doug used
to do, and if I did a lot of stunts, that the kids
would like me. And that's what I was trying to
do — make the kids like me."
And for every kid who sees "Tarzan, the Ape
Man" — although it is a great kid picture — there
are twenty-five women. The lines in front of the
theater are longer than the bread line in Times
Square.
"You see," Johnny went on, trying hard to
explain things to me, "nobody thought this
picture would be so good. Even after the pre-
view, nobody thought it would be so good.
Everybody in Hollywood said, 'Sure, it's okay,
but it's just another picture. The kids will like
it.' " [ PLEASE TURN TO PAGE 118 ]
G
eneVieVe Goes Torrid
Longworth
"A chill sister"— that's what they used to call this
fascinating ooh, la, la glamour girl. It was a little
man with a big cigar, named Ernst Lubitsch, who
changed the prim and ladylike Genevieve Tobin
into a luscious and alluring siren. How did he do
it? That's Ernst's own little secret. You ask him!
. [0
Two good little troupers
who graduated from the
stage and what is happen-
ing to them in pictures
By Leonard Hall
THE Glamour Gang of Hollywood — that shimmering
sisterhood which used to be called "The Jolly It Girls"
— has a new member!
Once more a movie moth has flashed across the screen
decked out as a flaming butterfly. Again the folks out front are
rubbing their dazzled eyes at the sight of another strange and
fascinating picture miracle!
In "One Hour With You," the current Chevalier roguery, we
were all primed for alert and charming performances by the star
and his perennial sparring-partner, Jeanette MacDonald.
But we were knocked limp and goggling in the old family pew
by the absolutely astonishing show given by — of all people — one
Genevieve Tobin ! How she sparkled and snapped and sizzled !
Here was the cold and colorless Tobin, the refined and
reticent Lady Genevieve, turning out as Frenchy and fascinat-
ing a farce performance as our time has seen. The very sands
< if Malibu turned to powdered sugar at the sight. Could this be
Tobin?
But behind this amazing spectacle stood a smallish, quiet
figure — a little man with a big cigar. It was the magic wag. the
old Glamour-Master, the only living man who can turn an ugly
duckling into a swell swan. In brief, Ernst Lubitsch was up to
his old tricks again!
Once more the little German maestro had played Pygmalion
to a cold, stony Galatea. And at the touch of his wand a new
golden girl had appeared, loaded for b'ar and r'arin' to go!
BACK of it all is another of those strange, almost unbeliev-
ably romantic stories that now seem to be born only in
Hollywood, the modern Xever-Xever Land!
To understand it at all one must peer, in a genteel way, at
La Tobin's past.
It seems to me that Lady Genevieve, though now but twenty-
eight, has been around the New York stage forever. She and
her sister Vivian were always on tap when a producer wanted a
young leading girl.
The Tobin sisters, in fact, occupied respectable spots in the
managerial pigeon-hole marked, "Leading ladies, ingenue,
genteel and refined, competent, if not hot."
That's about all. They were little ladies, the Tobin girls.
They had been nicely taught the nicer things. They knew how
to walk, and talk, and juggle tea-cups, and play smart conversa-
tional ping-pong with the leading man. They had both started
in the theater when they were mere kids — and now here they
were, always on hand when a manager wanted a nice little lady
to pass the cakes and make small-talk with the vicar.
But thrill, glamour, excitement? Xot an ounce in a carload
of Tobins! They seemed condemned to a dignified, fairly in-
conspicuous place on the American stage until they married and
retired, or were pensioned off for age.
In my meaner moments as a dramatic critic. I was wont, God
forgive me, to call them "The Chill Sisters." and was never
horsewhipped for it. I'd have no more thought of making goo-
goo eyes at a Tobin than I would of trying to date up an electric
ice-box.
And little did Miss Gen reck that waiting in the wings was a
master human craftsman who [ please turn to page 116 ]
Claudette Battles On
MOST wars come to an end sometime, but
there's never an Armistice Day in Holly-
wood.
In that placid and sun-baked town the
continual battle for a hot spot in the movie arcs
goes on. Genius, pull, position and all manner of
skull-duggery are hurled into the struggle. In
pictures today it's a question of root, actor, or die
— and the hills above studio city are white with the
bleaching bones of the slain.
Out there, at this particular moment, one of the
grandest little troupers of them all is gamely fight-
ing to hold her present spot and to surge on to even
loftier picture heights.
And her name, for the record book, is Claudette
Colbert.
Not long ago she came out of the Hollywood
battle-line for a breathing spell — to rest and refit.
She was between pictures, and presently would go
back into the cinema trenches to start another
talkie for Paramount.
I sat opposite her in her apartment in one of
those great gilded mausoleums that sneer snootily
down on Central Park — the same platinum tene-
ment that shelters the immortal Rudy Valloo when
he's in town. Claudette, dainty and pretty as
though she had just been unpacked from tissue
paper and Paris, was sipping a beaker of hot milk.
I was tugging gently at a very superior brand of
celery tonic.
My mind was half on the charm of the little
French girl, half on the tonic and half on the ter-
rific hurdles she will have to take as she goes on
storming the screen citadels.
" Come now," I said. " Wouldn't you like to be
back in the theater? Aren't you fed up with all the
phenagling of Hollywood?"
She didn't hesitate a split second, and there was
a startling snap in those eves, which are as big as
the old-fashioned silver dollar.
"I like pictures, and I mean to stay in pictures.
I want at least two years more."
THE French doll had become a purposeful young
woman. She certainly meant what she said.
And as this bulletin from the battle front is
written, here's the situation on the Paramount lot
where La Belle Colbert — nee Chauchoin — now toils.
Item — the matter of Dietrich the Great, a
shapely mass of glamour in human form, and the
queen of the lot.
Item — one little Sylvia Sidney, who has been the
object of earnest star-building, with a succession of
tremendous parts that include the "American
Tragedy" plum.
Item — the tremendous onrush of Miriam Hop-
kins, one of the new candidates for glamour honors,
and certainly in line for succulent roles to come.
Item — the fact that Wynne Gibson is graduating
from supporting roles to leads, and seems set to
occupy larger type and brighter lights in days
ahead.
That will do for now. Certainly, it would seem a
fine chance for a little Gallic girl with big eyes to be
lost in the shuffle somewhere. She would seem to
be, as we boys around the poolroom say, directly
behind the eight-ball.
And yet, as I chatted cheerfully with Claudette
between sips of milk and nips of tonic, I became
certain sure that she isn't. If Claudette wanted
more years in the prancing tintvpes, she'd have
them!
For she's a young [ please turn to page 117 ]
Shalitt
Take a look at that slim, perfect figure and those soft, soulful
eyes. Never mind the looks — Claudette Colbert is a studio
Jack Dempsey. She works for the same company that holds
the contracts of Marlene Dietrich, Sylvia Sidney, Miriam
Hopkins and Wynne Gibson. Think Claudette will get lost in
the shuffle? Think again. The Colbert girl's got fightin' blood
SI
Give
This is a brutally frank photograph taken when Miss Ada
Murray was tired. She should not have had her picture
taken under these circumstances. Neither should you.
Give yourself a break. Have your photograph taken
only when your spirits are high, when "all's well."
The camera cannot help but record that distrait look.
WHEN it comes to the question of having your
picture taken, why not give yourself a break?
Don't be satisfied with anything less than the
best. You owe it to yourself, to your friends and
all those who are to cherish your likeness.
You have seen the most beautiful reproductions of face and
form of hundreds of the stars of the screen and wished that you
could sit before the same artist-photographer who produced
such entrancing results. You can if you have good sense, are
willing to study yourself, give serious thought to the matter. In
short, give yourself a break.
Miss Ada Murray, as you will see from one of the above
photographs, didn't. It seems almost incredible that the two
pictures portrayed are of the same person, taken less than
thirty minutes apart. Yet they are, and strikingly bear out
what can be done when an artist-photographer summons to his
command the new technique of his profession and uses psy-
chology in bringing to the surface the innerspirit,thereal person,
for the lens to grasp.
When lovely little Ada Murray entered the studio of Hal
Phyfe, in New York, a few days ago she would have laughed if
anyone had told her she had Hollywood possibilities. She was
tired, dejected.
Hal Phyfe who, before he became a professional photog-
rapher, drew and chiselled in stone beautiful women of two
continents, was immediately struck with the somber beauty
}burself
A
Break
Girls, here are valu-
able tips for you. Give
them thought and. like
Miss Murray, see how
very interesting and
attractive you become
which lay in the girl's eyes, the beauty in the delicate hint of a
smile which hovered in the corner of her lips, now slightly tense,
and the perfection of the full flowing line from the point of the
chin along the jaw.
And right there Phyfe had an inspiration. Here, he thought,
was an opportunity of registering the transformation which can
be accomplished when a subject just ''has her picture taken,"
and then what can be done with the same person under different
circumstances, different mood, different posing.
'"I saw Miss Murray sitting there looking very discouraged.
I said to her — you have two personalities. You ought to be a
motion picture actress. Just keep that despondent look while
I take a quick photograph of you."
THEN* he worked, talking to her, bringing out her person-
ality, because she really is one of the beauties of New York.
Above are the striking results.
In discussing the episode, Mr. Phyfe declared that at least
half of the people who have their pictures taken pose on the
wrong day.
"Photographs should be something more than just pictures,
simple reproductions of the outline of the face," he said.
"Photographs should and can catch the subtleties of person-
ality and animation of the spirit, the real self which is forever
radiating through the facial features, eyes, nose, chin and
mouth."
By
Betty
Long acre
Photographs
by
Hal Phyfe
If you honestly want to have
a photograph which will be the
real you, here are a few points
which should be rigidly fol-
lowed. They are the formulas
of screen stars, and if they are
willing to follow these rules
why shouldn't you?
Never sit for a photograph if
you are in an unhappy mood.
Study yourself in the mirror.
Find out what are your best
lines, what are your best angles.
Study different expressions of
the mouth and the eyes. These
two more than any other facial
characteristics reveal the true
you. Study them, be imper-
sonal about it.
What arrangement of the
hair is most becoming? One
arrangement may soften fea-
tures too hard, another may
shorten or elevate a forehead.
In fact, hair properly arranged
will enhance any of the adjuncts
of beauty at your disposal.
If you read Carolyn Van
Wyck's department you will
know that she advises you con-
tinually to experiment with
your eyebrow pencil and lip-
stick. Next to the arrange-
ment of the hair, lipstick and
eyebrow pencil can do more to bring out the beauty of certain
lines than anything else.
The movie stars are continually studying this particular
phase of facial make-up, ever searching for new cosmetics which
will produce just the proper shading to enhance a good feature
or lessen some slight irregularity until it is unnoticed. If they
realize the necessity of doing this, why shouldn't you?
Why not follow in their proven footsteps and give yourself a
break?
MOTION pictures wrote mene mene tekel upharsin (you have
been weighed in the balance and found wanting — make the
best of thyself) on the backdrops of the old-time photographer
and his morgue-like studio, and finis to his "look at the birdie"
mode of photography. While the photograph of today is certainly
an improvement over those of a few years ago, the average photo-
graph still falls woefully short of what can be done when a real
artist combines his knowledge of line, form and shade with his
subject's spiritual and mental reactions and is never satisfied to
open the shutter of his camera until the sitter is in perfect posi-
tion mentally and physically, enhancing good points and deftly
softening irregularities.
Women trained to the value of perfect photography refuse
absolutely to pose except under the most favorable conditions.
Was It Really Only
This girl held the Charleston winning dancing cup
record of Hollywood. She stayed up late, liked fan-
tastic clothes and had more boy friends than Russia
has plans. Give up? Then meet Joan Crawford
when she first hit Hollywood, and glamour was only
a forgotten word in the dictionary. Notice how
plump she was, but pretty. Joan had to struggle for
her first big role, but made good when she got it
Yesterday?
When this picture was made, studio executives re-
fused to allow Norma Shearer to wear a backless
gown before the camera. No sir, Norma just had to
be a good girl on the screen. And her mama chap-
eroned her when she went to a party. Then she be-
came Mrs. Irving Thalberg, pinned up her hair, went
smart with a bang and went right into "Strangers
May Kiss." Now sophistication is her middle name
A few years in Hollywood
And look how they change
Study this picture carefully and then answer truth-
fully. Would you believe that this girl could become
the best light comedienne in Hollywood? Just be-
cause she had golden hair, blue eyes and looked
beautiful in picture hats, casting directors thought
Marion Davies should be an ingenue. She said she'd
fool 'em, and she did by suddenly turning actress on
the home folks. That sort of thing takes brains
35
~v
Metropolitan
Cowboy Cooper in a Derby hat!
What's more, Gary got off the
boat from Africa with a cane. In
New York he went to the same
night club where Lupe Velez was
having fun with another boy
friend. Lupe didn't offer to
speak to him. "Why should I?"
she commented. "It's all over!"
TEX years ago Betty Compson, traveling
over small town vaudeville circuits as a
violinist, landed in San Francisco and
found no further bookings. Stranded, without
funds to return to her home in Utah, Betty
found the situation pretty bad.
Finally she secured a job as nurse maid in a
wealthy home and earned money to return.
Recently Betty Compson, a wealthy, famous
woman, visited San Francisco. And the family
who had taken the stranded, frightened little
violinist into their home gave a swanky dinner
party for the former nurse maid.
And the little girl, who was Betty's charge,
sat across the table. She is now a beautiful
debutante.
npHE Clark Gable sweater is Holly-
■*■ wood's newest fad. It's as pop-
ular as the Garbo bob.
Clark wears those turtle necked
sweaters of the same color as his
suit. And the trick is, he doesn't
have to wear a collar or a tie.
JANET GAYXOR has gone sophisticated.
And all you folks can gnash your teeth and
do the proper amount of weeping and wailing
but it won't affect Janet a bit. You'll just
have to make up your mind that the sweet and
simple stuff is out for Gaynor — for awhile at
least.
Janet has been to war again with Fox be-
cause she did not want to play the title role in
"Rebecca of Sunnybrook Farm."
36
L< a 1 York
Acme
You won't see anything cuter than this if you search the Hollywoods with
Sherlock Holmes' magnifying glass. Bessie Love, as happy as an extra
with a starring contract, and her baby, Patricia. And Bessie won't talk
about pictures. "I've got a big role for you," a director said. "Listen,"
answered Mama Bessie, "all I'm interested in now is getting Pat to sleep
on time." William Hawks is the baby's father, and just that proud
"Too much sweet stuff," was Janet's ulti-
matum, "I think I did my share of that in
'Delicious.' "
You don't hear so much of Janet's battles
because she looks as if she just isn't the type
to quarrel. But don't let that angelic face fool
you. When they insisted that she be Rebecca,
Janet thought she'd go home. (Only she
didn't say it with a Swedish accent.) And she
went home, to stay there until the smoke had
blown away and she could return, triumphant.
As she did and as she always does.
"D UT the affair had two very strange results.
Janet wanted to play in "The First Year''
with Charlie Farrell and what Janet wants she
gets, in spite of the fact that Sally Eilers
and Jimmy Dunn were slated for "The First
Year."
It made Sally just a little mad so, to think
it over and cool off a bit, she decided to take
a trip to Xew York.
That made Hoot Gibson a little mad. He
didn't want Sally to traipse 'way off there to
Xew York all alone. Sally went anyhow and
there's been a lot of talk that the domestic life
of Sallv and Hoot is not as beatific as it should
be.
It's my hunch that it's only a little spat
and that Sally was just annoyed because she
couldn't play the role upon which she had set
her heart.
Well, with Janet Gaynor going into 'The
First Year'' that left Sunnybrook Farm with-
out any Rebecca until Marian XLxon was hand-
ed the part, which is just swell for Marian, and
who knows but what she might take Gaynor's
place not only in that picture but in the hearts
of the fans?
Xow, isn't that a strange story — that one
1 he IVlonthly .Broadcast
of
Hollywood
Goings-On/
Keystone
Crooner Rudy Vallee and Fay Webb have been married a year, but just
look at 'em — still holding hands, right in front of a photographer, too.
And Fay has gone Garbo with her hair pinned back. Rumor persists that
Rudy is going to make another picture. Anyhow, they bought an enor-
mous house in Hollywood that set him back all of a month's salary. But
Rudy isn't worried, even with Buddy Rogers' radio competition
little slip of a girl could be responsible for so
many circumstances?
pVERYBODY believes that Janet is the
victim of bad advice and that if she were as
wise as she is determined she'd stick to the
sort of role she does best and in which her fans
love her best. Last time that Janet declared
war on her company, Lydcll Peck, her husband,
was blamed. But that isn't it now for Lydell
has been given a job in the scenario department
at Fox and must be loyal.
Incidentally, Garbo is Janet's favorite ac-
tress but for winning her studio fights Janet
can give Garbo cards and spades and still walk
off with the money.
'T'HE Ann Harding-Harry Bannister separa-
tion is still the most vital subject in Holly-
wood. And, if you drop by Henry's for a mid-
night snack you'll hear the folks talking like
this: "It's all a publicity stunt. Ann knew
that she was slipping since 'Holiday.' Her
stories haven't been so hot and she thought
she should get a little glamour to compete
with the stars who are front page copy."
"Oh, no, you're wrong, Ann was crazy about
Harry but he made her spend all her money on
him. Ann has simple tastes but Harry wants
a lot of things — like that big house and air-
planes.
"Well, Ann bought them all for him until
she got darn sick and tired of it."
"That's not it at all, Ann and Harry haven't
been happy for months. I've known this was
going to happen for a long time."
" 7\TO, no, it was because Harry interfered
■^ with Ann's career. Why, he was the one
who picked those poor stories for her. But
Wide World
When Ina Claire arrived in New
York wearing black, folks asked
if she were in mourning. "I wear
black because I like it," Ina
answered. Her hair is several
shades lighter and much shorter
than it was. Carolyn Van Wyck
says the arrangement of those
cute curls is brand new, girls
besides that — Ann's gone ritzy and high brow
and no man likes that."
And so on far, far into the night. Nobody
can tell the real reason but Ann and Harry,
and neither will talk. Guards were put around
the set where Ann was working — which cost
the studio plenty — so that no one could get in,
and Ann would not even talk to some of her
friends among the press for fear of being
trapped into some sort of statement.
All you have to do is look at her face to
see how unhappy she is. And a few days after
those now famous letters were written she
collapsed and had to be taken off the set of
"Westward Passage."
As this is written close friends of Ann report
that Harry Bannister is no longer in Reno,
where he went for the divorce, and that Ann
does not know where he is.
TT was after the preview of "The
Wet Parade" in which Jimmy
Durante turns serious for a moment
and does a big dying scene for the
camera.
"Now you see," he exclaimed,
"they're grooming me for drama, so
they can save John Barrymore's
salary."
Jimmy is crazy fcr pictures. When
he arrived in New York he said,
"Once only Broadway knew my
schnozzle. Now it belongs to a
nation."
37
CO what about Garbo? As I write, this is
^the stale of affairs — she has not signed her
contract! She has a passport to Sweden!
Now this may mean one of several things,
one of them being that she is simply going to
take a vacation in Sweden and is just getting
the executives — and all her devoted fans —
excited.
In Hollywood everybody believes that "As
You Desire Me" will be her last American
film. But I'm a die-hard and I simply won't
harbor a thought like that.
A friend of hers — but don't ask me which
one, for Garbo always drops the friends who
quote her — reports that Garbo said, "I have
«)(). Why should I make more pictures?"
Oh, Greta, think of your Art !
A NI), while we're speaking of money, Garbo
did not lose money in the Swedish Krue-
ger's financial debacle. You wouldn't catch
Garbo investing her capital 3,000 miles away.
Of course, the question of whether or not Gar-
bo will give up pictures and live thatquiet life is
the most important one to Hollywood and the
rest of the world at present. And all those
pros and cons and "will shes" or "will she
nots " are darn good publicity. Which leads me
to my own private hunch — that that's what it
is, Garbo having her little laugh at the expense
of the studio executives. Maybe I'm wrong
but I have a cozy little sum which says that
Garbo will take her vacation in Sweden but
will return for more of those American dollars
and that American fame.
"DIG he-man Clark Gable, who
■^■"Moesn't pull his punches, would
like to know who was the dirty so
and so who put pencil shavings
with his choice tobacco in the to-
bacco jar. The finger of suspicion
points to Buster Keaton — but yoo-
hoo Buster, you know me, I never
said you really did it. I just said
some folks suspect you.
VJiTHEN Clark Gable's wife went to New
York, Clark gave up the apartment that
they had occupied together and moved into
bachelor quarters. But he didn't give any-
body the address and when he appeared at
the studio his manager was constantly by his
side to keep him from being questioned about
the divorce, which folks say is imminent.
However, in his new neighborhood word sort
of got around among the kids that Clark was
living in that corner house and dozens of little
girls — all under ten, Mrs. Gable — have pre-
sented themselves at the front door, welcomed
Clark to his new house and asked for an
autographed picture.
TN the meantime Mrs. Gable, who is really a
■Movely looking woman, seems to be doing very
nicely in New York. I wish I could tell you
that there was a pained tragic look on her
face, but at the opening of "Grand Hotel" she
was just plainly having a good time.
There is, however, enough smoke to make
the divorce rumors fairly authentic. Whether
Clark wants to run the risk of losing popu-
larity by going through with it is something
that only the Gables know.
""THERE'S a grand actress and a grand gal
who's running a couple of risks right now
out Hollywood way. She's built herself into
one of the surest box-office hits in the business.
Pulled herself up by her very pretty boot
straps, too.
She's married to a young actor in the busi-
ness. They've been pretty well ballyhooed
for honey-doving. And now — just one rumor
after another about her turning wide eyes in
other than hubby's direction.
Of course, there may be nothing to it.
We're not saying. But when there's an awful
lot of smoke and the smoke keeps on puffing
and puffing, folks sort of expect a fire.
And in Hollywood, when the smoke keeps
circling around the heads of young actor-
newcomers, they get out microscopes to hunt
for the fire.
Probably she's unhappy and doesn't mean
anything by it. We hope so. She's such a
grand person. But we'd hate to see that
smoke curl up until it gets into the news-
papers.
Bredell
When Helen Twelvetrees left the cast of "So This Is
Hollywood" to take a less important role in "Is My
Face Red?" folks wondered. Here's the reason — the
latter film won't last so long and Helen will be busy
picking out baby clothes real soon. Uh-huh, Mrs.
Frank Woody has joined Hollywood mothers-to-be
Oh, lookee ! Lookee ! Garbo's gone platinum. Garbo's
cut off her hair. Wurra, wurra, what will that girl do
next? But hold on a minute— it's only a white wig that
she wears in "As You Desire Me," which just lots and
lots of people say will be her finis in American flickers.
So you had better take a good long look at her now
,?<9
TTO see him on the screen you'd think that
his life was free from any of the troubles
that come to us average folks, yet Lionel Barry-
more sutlers almost constantly from an acute
case of rheumatism. Away from the set his
body is often tortured but he does not com-
plain before the world. When he is in his
greatest pain he locks himself in a tiny little-
studio and spends hours doing minute and
beautiful etchings.
A T the side show the barkers cashed in on
^Hollywood. Harry and Daisy Earles, the
midgets, were billed as "Famous Film Stars."
They both played in "Freaks," you recall.
Or maybe you don't recall. Maybe you're
one of those who are trying to forget that
picture.
No film ever made has caused as much dis-
turbance as that one. In several Southern
cities the company was restrained from show-
ing it and several people who did see it threat-
ened to sue the theaters that ran it. M-G-M
was on the point of recalling the film from their
program, when it suddenly started doing good
business and, in Cincinnati, was held over for
four days because it was playing to standing
room only. But to get back to little Harry
Earles.
He is very proud of his picture experience
and confided that he often saw Garbo, but
that on the day when he was permitted on her
set she was not working.
TTHE studio know-it-alls will tell you that
Connie Bennett has her luncheon sent to
Ik i dressing room, where she nibbles caviar
and pate dc foic gras from a silver and crystal
luncheon service. But don't you believe it.
She sneaks around to a shabby little restaurant
near the home lot and makes deep inroads on a
big plate of Italian spaghetti with mushroom
sauce.
That's her favorite dish.
TIMMY DUNN has gone Garbo.
' Once so excited when newspaper and maga-
zine writers wanted to interview him he now
breaks appointments with the press, dodges
interviewers and, when he is cornered, tells
everybody the same story.
T^UNNY thing— Boris Karloff, your
■*■ favorite monster, has achieved
great fame in talking pictures with-
out speaking a word. He didn't in
"Frankenstein" and he'll be mute
again in his newest one, "Old Dark
House."
"L_TERE'S the state of Hollywood's romances
as we go to press.
In spite of the fact that Madge Evans and
Tom Gallery — from whom ZaSu Pitts is sepa-
rated— are seen together, Madge says that
her real heart throb is a non-professional boy
friend in New York.
Flying by direct route from England to
Hollywood is a little bird that whispers Elissa
Landi and her barrister husband are not so
successful at making love via cablegrams. But
English divorces are difficult and Elissa's
mother doesn't approve of American ones.
Jimmy Dunn is no longer sighing because
June Knight is 'way off in New York. He
divides his off screen time between Cecelia
Parker and Maureen O'Sullivan. And then
there's Lila Lee who denies emphatically that
she is still in love with Johnny Farrow and
proves it by going to all the places with director
George Hill — Frances Marion's ex.
r^ FORGE RAFT, the bad man of "Scar-
^-Iface," thinks little Peanuts Byron the
cutest trick in Hollywood. While George
O'Brien is interested in Marguerite Churchill
again. And Minna Gombell, who doesn't waste
her time on actors, has a banker boy friend in
San Diego. They've known each other several
years.
Fredric March and Florence Eldridge, his
wife, are so much in love that when Florence
had a hospital siege recently Fred wouldn't
even go to the studio — spent every waking
minute with Flo.
Folks got excited when a radio station an-
nounced that Evalyn Knapp was married to
Donald Cook.
But 'tain't true. He's just her steady.
[ PLEASE TURN TO PAGE 80 ]
International
Nope, this is not an old still of Barbara La Marr, nor is
it a new European beauty. Guess again! It's little
Anita Page gone glamour with a bang. Anita hasn't
been getting the breaks lately, so she decided she'd
change her personality and right away M-G-M signed
her up for another long contract. Good girl, Anita
Here's the most tragic news of the month. Woggles is
dead. And Joan Crawford, his mistress, is heart-
broken. Woggles was the most famous pooch in Holly-
wood. He had been to New York three times, received
tons of fan mail and boxes of dog biscuits at Christmas.
This gay little picture was taken in more happy days
2 39
ohe wants Lo Be runny
ABOUT two o'clock on a Tuesday
afternoon little Una Merkel slid down
a cellar door in Covington, Kentucky,
and at six o'clock the following Friday,
Mrs. Merkel and three neighbor women were
still removing splinters from Una's quaint
little Southern anatomy.
The event remained fixed in her memory be-
cause it was the first and last time Una became
familiar with a cellar door. For, outside of
reciting " Under the Spreading Chestnut Tree"
at all the church socials and appearing on all
Easter programs as a white rabbit about to
scatter dubious looking eggs about promiscu-
ously, Una was a highly re-
spectable child. Even prim
and rather sedate.
As a matter of fact, Una was
a golden-haired, blue-eyed girl
with a spinster complex. A sort
of little mother confessor to
her daddy and mother who
were young enough and wise
enough to look upon Una as a
third important member of the
family. To be consulted on all
family matters.
She sat between them at the
theater. Her sober, not too
pretty little face raised in silent
wonder. Drinking it all in.
And pictured herself, a great
actress in her bunny suit, bear-
ing glad tidings and two dozen
purple eggs to a snow bound,
curly-haired hero.
Even when the Merkel
family took itself and its Cov-
ington, Kentucky, accent to
Philadelphia and Una entered
High School, she determined to
be an actress.
SO wasting no further time,
Una entered a dramatic
school in New York and went
about the business of learning
to Juliet on some one else's bal-
cony. But not, of course, in a
bunny suit. That idea had
died a slow and painful death
several years before.
Jerome Storm was a great
movie director in those days.
And Storm saw in Una a sister
and a double for Lillian Gish in
a picture called "World
Shadows." (And there's a title
for you.) So Una was started
on that long dreamed of career.
Here, indeed, was our little
cellar door slider going about
wringing her lily white hands
and fluttering around and
around the mulberry bush in a
blue sash with Lillian. Only
something happened. "World
Shadows" never saw the light
of day. But no difference.
Una was started. It was just a
wide step up, in those days,
from the movies to the stage.
And Una made it.
Una's career from the very
AO
Sara Hamilton traces
Una Merkel back to
her Kentucky home
Here is the way Una Merkel looked when she
slid down a cellar door in Covington, Kentucky.
It was quite an event and all the townspeople
turned out for a splinter picking bee. Since then
Una's been sliding — but upward to stardom
first as Lillian Gish's double seemed to be a
follow-the-leader idea. She kept following
people in and out of parts. She took the lead-
ing lady's part in "Pigs" when it went on the
road. She stepped into "Two Girls Wanted "
when the leading lady stepped out. So when
the part of a gawky, lanky Southern girl in
"Coquette" came along, Una was almost
afraid to take it.
"No one else has evah played it," Una
drawled. "What would I be doing with it?''
But nevertheless Una took it. And you
know what Helen Hayes did with "Coquette."
And what Una Merkel did with that awkward
little bean spiller. That voice.
Those hands. Those feet. And
the audiences, well, they threw
up their hands and declared be-
tween gasps that if she didn't
stop it they couldn't stand it
another minute. All that
laughing so soon after their
operations.
D. W. Griffith of the movies
also saw this grand little
comedienne and, Griffith-like,
immediately seized upon her as
a broken-hearted, down-trod-
den little angel for his movies.
Now don't ask me why. The
movies are like that. Born in
a barn on Vine Street they
undoubtedly fell out of a hay-
mow on their heads when very
young, for they will do things
like that.
SO into the picture "Abraham
Lincoln" came Una. As Ann
Rutlcdgc. And died somewhere
between the third reel and the
Illinois state fine. And went
on dying or gasping or just
looking ga-ga in various pic-
tures for over a year. '
Suddenly it occurred to John
Considine over at Fox Studios
that the funniest person he had
ever seen on any stage at any
time was that gawky little
Southern girl in "Coquette."
Never dreaming, of course,
that Una Merkel was the same
girl that had been dying and
looking ga-ga for over a year
on a neighboring lot, he set out
to find her. And was he that
surprised? And pleased? And
were you and you and you and
Uncle Casper and Cousin Het,
to find this grand little laugh-
maker with the Amos 'n' Andy
accent! Honey chil', did we
find something! Urn. I'm.
Remember "She Wanted a
Millionaire," "The Impatient
Maiden," and "Private Lives. "
And now with Novarro in
"Huddle."
And Una is just as pleased as
a pickaninny with a water-
melon. She wants to be funny.
A sedate, prim little thing all
[ PLEASE TURN TO PAGE 108 ]
llll'mmiAv
Lippman
TNTRODUCING the newest sworn-in member of the Let Me Lead
-*- My Own Life Club. When Kay Francis first came to Hollywood,
no formal dinner or informal tea was complete without her. Since her
marriage to Kenneth MacKenna, she doesn't go in for that sort
of thing and entertains intimately and elegantly at her own home
"TTS great to be a screen hero," says grim-jawed Ralph Bellamy.
-^ "I wear good clothes, ride in fine cars and help beautiful ladies like
Ruth Chatterton and Barbara Stanwyck out of difficult situations.
I guess I'm a pretty lucky guy." But before you begin envying Ralph
hear how Wally Beery feels about it over there on the opposite page
Hurrell
I WOULDN'T trade jobs with one of those pretty boys for all the
beer in Germany," says Wally. "I can get to the studio five min-
utes before camera time. Don't have to put on make-up. Camera angles
mean nothing. One side of this mug is just like the other. I've never
said, 'I love you, sweet cookie,' on the screen. And I hope I never do"
Murrcll
IT'S funny about Leila Hyams. The girl can act and she is beautiful.
Yet when those big roles that shoot a girl to stardom are being handed
out, Leila is busy just being a capable leading woman for some well'
known. It's our private hunch — and we'll take a few small bets — that if
Leila were given a real chance, she'd be a top-notcher in almost no time
so you wan-
to GET INTO
the: movies
IASTINGtI
Q)R£CTOR|
Depict the:
VARIOUS
EMOTIONS
RAGE
JEALOUSY
NOW DEPICT
TERROR
£Tiru4&\
y\ p\RecToH\
JOY
Th
e
bt
ar o
tars
D
The Mickey Mouse
Club button, worn
proudly over thou-
sands of loyal little
hearts. It is an
emblem of honor
ON 'T pop your
eyes out if, any
day now, you see
a small boy meet
a small girl, raise his right hand
in the air and yell,
" Hi. Minnie! "
Still don't swoon if the small
girl lifts her left fist and screams
back,
"Hi, Mickey!"
They aren't juvenile candi-
dates for the booby-hatch.
Not at all!
They are just a couple of members of the local Mickey
Mouse Club giving each other the lodge's esoteric high-sign.
A million kids are doing it all over America
today — brethren and sistren of the greatest
kids' lodge ever known, and growing every
day. They have as much fun — with their
grips and badges and signs — as Pop does when
he goes to lodge on Thursday' nights, and they
never have thick heads after a meeting.
What's happened is that little Mickey
Mouse, the most popular film star in the world,
including Garbo, has become the founder of a
child army.
Mickey Mouse, the star of stars, was born
only three years ago, with sound.
He was conceived in the brain of Walt
Disney, cartoonist, and born in an inkwell.
Legend has it that Disney, broke and dis-
couraged, was sitting on a park bench wonder-
ing where the next coffee and cakes were com-
ing from. He laughed at the funny antics of a
mouse scurrying about a nearby trash-can.
" If that critter made me laugh,"'
reasoned Walt, "he might do the
same for the world."
And he certainly has!
EIGHTEEN times a year a new
Mickey Mouse cartoon leaves
the Disney studio in Hollywood and
covers the earth. No less than three
hundred prints are used of each,
here and abroad. He's the favorite
of rulers and rich men, poor men, ij00L~
beggar men and thieves. Doug
Fairbanks is getting Mickey Mouse fei
in the South Seas, and Mary Pick- mv, .
ford writes him mash notes.
Often, here and abroad, his His creator
pictures are billed above features.
He has a pet name in most of the
countries of the world. Not long ago, Mick the Mighty was
voted the most popular film star in Austria, leading no less a
genius than Unser Emil Jannings by more than 40.000 votes.
Hut Mickey's greatest achievement to date is the Mickey
Mouse Club. The organization is sweeping the countgy. By
1933 it is expected there will be 2,000,000 members in several
thousand towns, and plans are already on foot for a national
convention, with delegates from all over the land.
If those kids could vote, they could darned near elect a
president on a Mickey Mouse ticket, with free pop and movies,
no music lessons, and dancing schools banned!
How did this amazing Mickey Mouse Club business happen?
Of course, the little star's cartoons are psychologically perfect
for kids. He's always jolly — he gets into human jams and he
always gets out in the last minute of the film. And his act is
always clean.
The Disney organization created the idea of the Mickey
i6
Mouse Club. It would help them, it would help the theaters —
and it would help the children.
It would inculcate Americanism, and it would show the
youngsters a swell time.
What does a boy or girl at that awful wiggly age like more
than a lot of mystery- badges, pass-words and all that? The
answer is nothing but unlimited pink ice cream.
And the Club gives them all that under good auspices, off the
streets, and every week. No wonder the small fry leap to it as
to a three-ringed circus!
I went to a meeting — concealed at the back of the house, for
no grown-ups are allowed. The officers run the whole show.
There are — Chief Mickey Mouse. Chief Minnie Mouse,
Master of Ceremonies, Song Leader, Cheer Leader, Color
Bearer, Courier, and two Sergeants-at-Arms to keep order
among the mad little boys. And is a meeting a panic!
Stars fight for a place in electric lights. Mickey Mouse
shines there because he's a national hero. Even Connie
Bennett takes second billing when Mickey's in town
It begins about ten on Saturday morning, at the Club's home
theater. The manager has rehearsed the officers in their parts
the night before, and never appears. The kids are boss — and
how !
A thousand wiggly boys and girls in the theater. On the
stage, on nine chairs, sit the nine honorable officers, swelling fit
to burst.
The Chief Mickey Mouse pounds the meeting to order with
a man's-size gavel, and the riot is on.
He leads the Club in pledging allegiance to the Flag, which is
toted by the Royal High Color-Bearer. Then Chief Minnie
Mouse gets her spotlight fling. She leads the crowd in reciting
the Club Creed, as follows:
"I will be a square shooter in my home, in school, on the
playground and wherever I may be. I will be truthful and
honorable, and strive always to make myself a better and more
useful little citizen. I will respect my elders, and help the aged
and helpless, and children smaller than myself. In short, I will
be a good American!"
That, you will agree, is some creed — and the kids are given
to shouting the last line fortissimo.
Now it is the Grand High Master of Ceremonies' turn. He
is the real big shot. He directs the. rest in putting on a show.
All over the country a
million kids are giving
each other the high-
sign of Mickey Mouse
Clubs — biggest chil-
dren's lodge in history
Jimmy Dolan plays the mouth-organ, Johnny Brown does a
buck and wing, and little freckled Mary Smith makes choice
funny faces.
The members choose the winners by applause — and they
get prizes.
The Cheer Leader and Song Leader do their respective stuffs.
Oh yes, friends — the Mickey Mousers have their own theme
song, with one special verse that belongs alone to the particular
club. Unembarrassed by the presence of older people, the kids
certainly sing, or something!
The mystic grips and secret pass-words are revealed and
practised. New members are told [ please turn to page 107 ]
And the answer is "Hi, Minnie!" For that's the official
club greeting and do the kids eat it up! Just ask 'em.
Besides this there are secret grips, private pass-words,
a club creed, sergeants-at-arms, color bearers, couriers
and lots of mysterious hokus-pokus that every kid loves.
And the chief Mickey Mouse lords it over the others
These children
from the Los
Angeles orphans'
home have adopted
Mickey Mouse as
their official mas-
cot. And they're all
members of the
Mickey Mouse
Club, from that
future Jack
Dempsey on the left
right down to the
little golden haired
cherub on the right.
Dear little Mickey
has taken the place
of the teddy bear
that another gen-
eration loved
47
SelectYour Pictures and You Won't
ytm&
ar^
ft
THE DOOMED BATTALION— Universal
ANOTHER breath-taking picture of great, inaccessible,
snow-covered mountains, such as you saw in "White
Hell of Pitz Palu." A battalion of Austrian troops feolds a
mountain pass in the Tyrol, against the Italian advance, at
the height of winter! The magnificent whiteness of the
lofty peaks, the drama of avalanches and blizzards, make
this a striking film. And the snow scenes are authentic,
having been photographed in the Austrian Tyrol, the locale
of the story. The principal actors are Luis Trenker, cham-
pion skier; Victor Yarconi, and Universal's new foreign
star, Tala Birell.
Terrific suspense is built up when an Austrian soldier has
to decide between love of his wife and baby and duty to his
comrades. Don't miss this.
ft
THIS IS THE NIGHT— Paramount
HAD this picture been less good than it is, we would still
have had to include it among the best of the month. In
the midst of excellent but heavy dramatic films, here is the light
and farcical interlude that movie-goers long for. Threeclever
tunes, "Madame Has Lost Her Dress," "This Is the Night,"
,ui(l "Tonight Is All a Dream," are introduced in an.unusual
way. Roland Young and Charles Ruggles are marvelous
comedians. When they're on the screen it's never dull, and
they're on practically all the time. Lily Damita is charming,
and Thelma Todd shows those gorgeous legs. In fact, that's
an important part of the plot! Sophisticated and highly
spiced. Junior and Sister should stay home and get their
laughs from Eddie Cantor's new book.
J>8
The
Shad
ow
A Review of the Neiv Pictures
ft
LETTY LYNTON—M-G-M
THE gripping, simple manner in which this picture un-
folds stands it squarely among the best of the month.
Yet there is little that is new and no attempt at ultra-
sophistication.
Letty Lynton, in South America to get away from the un-
responsiveness of her mother, falls under the spell of a
magnetic South American, one Eniilc Renatd. Breaking
away, she sails for home, falls deeply in love with a man she
meets aboard and becomes engaged to him, only to discover
Round has followed.
At his threat of exposure she plans suicide, but by mis-
take Raid it! takes the poison and dies, leaving Letty in a
tight place and face to face with the district attorney. The
scene in his office, where the hitherto unfeeling mother
finally comes through in a big way. will linger in the memory.
Joan Crawford, as Letty, is at her best. Nils Asther is a
fascinating villain. Robert Montgomery gives a skilful
performance; Louise Closser Hale does excellent comedy
work as the maid; and Lewis Stone is fine as the district
attorney. The direction, plus a strong cast, make "Letty
Lynton" well worth seeing.
Have to Complain About the Bad Ones
The Best Pictures of the Month
LETTY LYNTON SYMPHONY OF SIX MILLION
THE DOOMED BATTALION THIS IS THE NIGHT
THE TRIAL OF VIVIENNE WARE NIGHT COURT
YOUNG AMERICA TWO SECONDS
THE STRANGE LOVE OF MOLLY LOUVAIN
The Best Performances of the Month
Joan Crawford in "Letty Lynton"
Robert Montgomery- in "Letty Lynton"
Nils Asther in "Letty Lynton"
Ricardo Cortez in "Symphony of Six Million"
Roland Young in "This Is the Night"
Charles Ruggles in "This Is the Night"
ZaSu Pitts in "The Trial of Vivienne Ware"
Walter Huston in "Night Court"
Phillips Holmes in "Night Court"
Ann Dvorak in "The Strange Love of Molly Louvain"
Lee Tracy in "The Strange Love of Molly Louvain"
Casts of all photoplays reviewed will be found on page 128
*
SYMPHONY OF SIX MILLION— Radio Pictures
A BEAUTIFULLY told story, for all the family to see.
There are tears and laughter, and what the picture
lacks in greatness it makes up for in human interest.
Here are the joys and sorrows of a typical ghetto family
of three children and "momma" and "papa." As the
children grow up, they fulfil the promise of their talents and
ambitions of earlier years. Ricardo Cortez, who plays one
of the sons, becomes a doctor in the tenement district where
he was raised, dedicating his skill to the suffering poor.
Through his more worldly-minded brother and the financial
needs of their parents, the doctor forsakes his work in the
clinic and is established on Park Avenue with a lucrative
practice, but with lowered ideals of service. We won't tell
you the rest and spoil the climax. There is a pretty love
story woven through the picture. There are two surgical
operations that will make you grip your hands in suspense.
Irene Dunne plays a crippled girl who devotes her time to
helping blind children. These youngsters, recruited from a
school for the blind in Los Angeles, are natural-born actors.
Gregory Ratoff and Anna Appel, as the foreign-born
parents, give outstanding performances.
tV
THE TRIAL OF VIVIENNE WARE— Fox
WHAT a relief to see a court-room drama crammed full
of action, but with comedy relief tucked in every
possible corner!
William Howard, the director, uses a new and interesting
technique and makes a fast-moving picture.
Joan Bennett plays a lovely prisoner, accused of murder.
Donald Cook, as her attorney, will cause a rise of blood
pressure of feminine movie-goers. And he gives a fine per-
formance. But the laughs go to ZaSu Pitts, as the sob sister
who describes over the radio, daily, what the prisoner is
wearing; to Skeets Gallagher, who imitates Graham
McXamee superbly; and to the valet, Herbert Mundin. A
fine balancing of drama and humor makes this grand enter-
tainment.
■
*
NIGHT COURT— M-G-M
A CROOKED judge frames an innocent mother and
sends her to jail, because he thinks she has' information
about him. What a harrowing experience that mother and
her young husband endure before her innocence is proved!
The story is so logical it is startling.
Walter Huston, as the unscrupulous judge, is magnificent.
Phillips Holmes, as the young husband and father, torn by
anguish and doubt, does outstanding work. Anita Page, in
the small but important role of the young mother, is splen-
did. Lewis Stone, John Miljan and others have important
parts.
It's a sad commentary on conditions existing today, but
for that reason you'll find it gripping.
Here's Your Monthly Shopping List!
&
)o( VG
wi erica-
fox
*
TWO
SECONDS—
First National
THIS is about those youngsters who get reputations for being
the "worst kids in town," and yet are not really bad.
Tommy Cordon is the boy who is continually hauled into
juvenile court for his pranks. But his pal, Raymond Borzage
(nephew of the director), steals the show with his death scene.
Doris Kenyon, as a sympathetic clubwoman, has never been
lovelier. Spencer Tracy and Ralph Bellamy do grand work.
IF you don't like your drama full measure, don't see
this. Newspaper men, waiting to witness an electrocu-
tion, are told the prisoner has two seconds of consciousness
after the first electric shock. The story consists of all that
passes through his mind during these two seconds. Edward
Robinson's work is memorable. Preston Foster, a newcomer,
is excellent and the beauty of Yivienne Osborne impresses.
*
THE
STRANGE
LOVE OF
MOLLY
LOUVAIN—
First National
WHEN A
FELLER
NEEDS A
FRIEND—
M-G-M
SUSPENSE, humor and heart interest adroitly shaken to-
gether. Maurine Watkins, who wrote " Chicago," concocted
this. But her work, alone, wouldn't have made it so tasty. It
took Ann Dvorak and Lee Tracy to perfect it. Watch this
Dvorak girl! And Tracy gives every role just the right twist.
As for the plot — it's that unknown quantity which intrigues.
We're not going to tip you off and spoil it.
THE fine acting of Jackie Cooper and Chic Sale furnish such
a delicious frosting that you forget the cake is a bit soggy.
Too bad the story doesn't come up to the acting. Jackie is
Litnpy, a crippled boy, made into a weakling by over-cautious,
doting parents. Uncle Jonas (Chic Sale) counteracts their in-
fluences. The scenes between Limpy and Uncle Jonas are
chock-full of humor and pathos.
THE
MOUTH-
PIECE—
Warners
THE RICH
ARE ALWAYS
WITH US-
First National
WARREN WILLIAM, who strongly resembles John
Barrymore, gives a good account of himself as an under-
world attorney who, falling in love with his stenographer, deter-
mines to break away from his criminal associates. But the
gang tries to prevent him from going straight. Sidney- Fox is
sweet and charming as the stenographer, and Aline MacMahon
does a grand bit of character work as a cynical secretary.
50
LIKE a bright oasis in the desert of recent heavy Chatterton
dramas is this frisky and gay story. Ruth plays a wife who,
deserted for another woman, remarries, but finds herself still
interested in the welfare of her ex-husband. The dialogue is
sprightly and the story has a surprise finish. That new leading
man, George Brent, is grand. Bette Davis and John Miljan
give good performances.
The First and Best Talkie Reviews!
SHOPWORN
— Columbia
THE
STRANGE
CASE OF
CLARA
DEANE—
Paramount
BARBARA STANWYCK does good work— but the picture
doesn't come up to it. It's just one of those rich boy falls for
poor girl stories; rich boy's mama objects. Poor girl becomes a
rich, but unhappy, stage star. And, after many violent changes
of scene, all ends well. Regis Toomey, as the wealthy boy, is lik-
able but seems miscast. And that swell Stanwyck girl should
have better vehicles.
A STRONG picture whose obvious similarity to "The Sin
of Madelon Claudet" detracts from its punch. Another
sacrificing mother, innocently caught up in a net of circum-
stances, is played beautifully and convincingly by Wynne
Gibson. Cora Sue Collins looms up as one of the few great child
performers. Frances Dee and Dudley Digges lend strength to
the story. Splendid and worthwhile entertainment.
THE
INFORMA-
TION KID—
Universal
MAN
WANTED—
Warners
ALL the favorite movie ingredients have been mixed to-
gether so deftly that you're thrilled every moment.
Mickey Rooney, an eight-year-old (formerly known as Mickey
McGuire) is the real surprise, and Tom Brown and Jimmy Glea-
son are a great pair. It's a racing story, with the same old charac-
ters— the jockey who throws the race and the slick race-track
manipulator. But packed with excitement and fun.
ANEW twist to the "office wife" theme. This time lovely
Kay Francis is boss and David Manners, her secretary, a
willing slave. Married to her career, she loses her playboy
husband to a blonde and does the inevitable by turning to the
man who is in sympathy with her work. Una Merkel and Andy
Devme are immensely funny. And how that Francis gal wears
clothes!
THE
MISLEADING
LADY—
Paramount
SCANDAL
FOR SALE—
Universal
CLAUDETTE COLBERT certainly knows all about cave-
man tactics after making this picture. Edmund Lowe
gives her some mighty convincing lessons. But just as you are
holding your breath, Stuart Erwin, an escaped lunatic who
thinks he's Napoleon, produces a sure-fire laugh. Shot guns,
revolvers, bear-collars and chain, all figure before the spirited
society girl wilts and the he-man turns soft. Laugh-loaded.
THE newspaper stories go on forever. This one, from the
novel "Hot News," concerns a small-town editor who seeks
new fields of endeavor that he may have a free hand in printing
news. He does. And what complications! Charles Bickford
makes the role of editor believable. Rose Hobart plays his
wife. Pat O'Brien hasn't much chance, but makes the most of
it. Good entertainment. [ additional reviews on page 123 ]
51
There were screen musical composers before the days
of the microphone. Griffith was the first to score his
films. The music was pounded out on a tin pan piano
by a girl who chewed gum and missed her cues. Here's
Griffith composing his own music — with Carli Elinor
And Griffith was his own costume
supervisor. He's looking over a snappy
cape of fine velvet, considered chic
in those days. How about it, Sey-
mour? Yeah, that's what we thought
OJ
YOU'VE seen hundreds of modern
back scene photographs with the
dozens of expert cinem&tographers,
high paid sound men and technicians
with fancy titles. Now take a look at
the way they did it years ago, when
]). W. Griffith ran his one-man show.
Here is the old Maestro directing a
scene from "Hearts of the World."
Besides directing, he did every other
odd job around the studio. Note
that there are no big spotlights, just
the natural sunlight coming through
the alley.
Where is the giant camera crane'-'
It's just a stoop that cameraman
Billy Bitzer stands on. Where are
the yes men? There's only one, be-
hind the camera, and he can't even
nod a "Yes," because his hat would
fall off and he would cut his throat on
his collar. They didn't have such
fine equipment, but they turned out
grand performances.
There are Lillian and Dorothy
Gish and the late Bobby Harron.
The child is Ben Alexander, now a
grown-up leading man. But Griffith
meant more than the actors. He
controlled his performers in the man-
ner of a hypnotist and some folks
said that it was Griffith acting and
not the stars. Griffith was the man
who pulled the strings, like the
mechanic in a Punch and Judy show.
But, if you remember "Hearts of
the World," you will recall that it
was a thrilling picture, chock-full of
heart throbs, laughs, tears and
pathos. Maybe they don't need so
much paraphernalia after all — just a
little more sincerity and unity of
purpose.
Take a look at Lil Gish's hat ! And Dorothy's goofy pose.
Now Lillian has given up the screen and consorts with
intellectuals. While Dorothy is on the New York stage
Before the actors
went on their sets
Griffith made sure
that the make-up
was okay. Bobby
Harron (left) re-
ports to "Massa D.
W." for a final bit
of beauty advice.
There were no Perc
Westmores then
And when the day's
work was over and
Griffith couldn't
find a single thing
to do, he dropped
around to the cut-
ting room to tell the
cutter (they didn't
call 'em film editors)
just where to snip
PHOTOPLAY'S
A study in personality —
Miriam Hopkins, laughing
siren of the screen. Con-
templative, speculative,
mouth too firm, eyes that
see through you and be-
yond, all appeal masked
by a curtain of reserve
o ywood
All the Beauty
tricks of oil the
stars brought to
you each month
Florine McKinney, exponent of brushing the hair for
beauty, shows you the proper brush to use. The left
brush has deep, flexible bristles that will penetrate
the hair, cleanse it, polish it. A plain wooden back
is more advisable than silver, however. The right
brush is too shallow and harsh. Separate the hair
into strands; hold upward from scalp, brush upward
ten times, wiping the brush to remove dust and oil.
For satiny beauty rub two drops of brill iantine on
the brush, and smooth your hair into natural lines
The tense mood is vanish-
ing. A glow in the eyes,
dawn of a smile on the
lips. You'd like this girl if
she'd just laugh. Laughter
in the young brings down
the brows, elongates the
eyes, lifts the mouth
Now all reticence is swept away.
Miriam laughs unreservedly. Her
charm is intensified. Perhaps your
face would become radiant, viva-
cious with laughter. Perhaps it
would transform you into a new,
exciting person. Try laughing
54
Deauty
nop
Marian Marsh is exhibiting a new
vogue — oiled eyelids. A tiny bit
spread evenly over the lids gives
that dewy softness of childhood
yet makes you appear interesting-
ly languid. Use brilliantine, facial
oil or white vaseline with or
without eye shadow. If shadow
is used, follow the upper lashline,
then oil the lid completely. The
oil also protects the delicate tis-
sue above the eye
Conducted By
Carolyn
Van Wyck
A kindergarten lesson in the use of com-
pacts by Alice White. "Press your compact
puff against the skin instead of rubbing it.
Your face will look lovelier and you will
be doing your skin a kindness." Remember
Alice's advice, girls. Alice's new compact
is of wood with gold hinges and A. W.
engraved on top
These laughing lips belong to Bebe Daniels, in case
you haven t guessed. Bebe advises using a creamy
iipstick which, in addition to coloring, gives a lush
softness to the mouth. If your favorite stick does not
do this, apply the tiniest bit of cream after rougeing
55
Ch
ang
e Your H a i r d
r e s s
Oh
e n
Here is an interesting head
to study if you contemplate
that summer permanent.
Adrienne Ames' lustrous hair
has been waved in a charm-
ingly irregular manner so that
the full beauty of her hair is
brought into high relief and
shadow. There is a side part
with simple waves, then a
decided curve over both
cheeks. The sides are shorter
than the back, which is
about four inches long, just
enough to turn upward in
that double roll. This is a
versatile arrangement. You
may have a double roll,
single roll or twirl this back
hair into separate curls. And
with permanents in mind let
me tell you that one of the
newest methods has elimin-
ated that tied-to-the-machine
idea altogether. You sit
calmly, unattached to any-
thing, while mysterious little
discs and rolls make your
curls. This method saves
time and is very gentle on the
hair, I understand
56
What amazing wonder a change in coiffure
will make! Two views of a new headdress
Ann Harding will show in "Westward Pass-
age. How do you like Ann with those
waves and twin forehead dips? At first
glance I did not know her. There is an inspir-
ing note, however, in these transforming pic-
tures. When you are a little weary of your-
self, when life is not on tip-toes for you, try
a change in coiffure, in make-uo, in clothes.
And in so doing change your outlook on life.
A slight change in eyebrows, a new shade of
lipstick, a touch of eye shadow, a fresh per-
manent! These are the magic wands by which
Prince Charming often enters. Change in self is
usually refreshing and inspiring
T
WO
nze
Hollywood Hair Tricks
Here is the two-minute curl in finished form. The back
of Marguerite's coiffure is quite as interesting as the
front. It clusters close to her head in many small curls.
Her two jewel accents, pearl earrings and pale jade
ring, are especially pleasing with her auburn hair,
golden brown eyes and warm, ivory skin. For make-up
she uses a medium lipstick and a brown eye shadow
Marguerite Churchill is showing you how you may have
those soft, feathery forehead curls at will and in just
about two minutes time. For sports and tailored occa-
sions this soft hair is combed in with her waves and dis-
appears. For gayer moments she combs it out, dampens it
with curling lotion or water, twirls it about in the manner
illustrated, runs a hairpin through it, leaves it to dry
If you are fair-haired like Lilyan, use black tulle.
It is lovely with rose and peach nightrobes. If
you are brunette, a pastel tone is suggested.
You might even have a bow at the side or top
if you wish to look your loveliest, and yet be
comfortable and well waved in the morning
A yard and a half of tulle will preserve your
wave perfectly while you sleep and add to,
rather than detract from, your appearance.
Press your wave in place and bind the tulle
about your head as Lilyan Tashman does. Tulle
permits your scalp to breathe, is comfortable
57
Brushes For
More Beauty
Marguerite Churchill has discovered a
new use for sachet powder. Formerly
we encased it in satin, lace and ribbon,
placed it among our lingerie and acces-
sories for that gentle, elusive fragrance
that is the true art of perfuming. But
Marguerite achieves a short cut to the
same effect by brushing the perfumed
powder over her skin. A little sachet
sprinkled over absorbent cotton, puffed
lightly on the skin, perfumes you surely
and subtly. Use below the ears, on the
backs of the hands, at the wrists, just in-
side your frock collar. The warmth and
slight moisture of the skin bring out the
fragrance, hold it. A particularly
pleasing perfume trick for evening!
Do you know the true art of
powdering? Do you know that
it should be pressed on gener-
ously, then most of it removed?
A soft baby brush, as used by
Florine McKinney, will remove
the surplus and leave your skin
perfectly powdered
Nothing is more annoying than
to have your lovely eye make-
up marred by powder. Florine
McKinney finds an inch wide
camel's hair brush perfect for
dusting about the eyes without
disturbing one little lash or
touch of shadow. Use it on the
brows, also
58
Three Lessons
In Loveliness
"Refreshing as a summer shower," remarks Arietta Dun-
can as she joyously sprays her face with ice water. Use
your face lotion, astringent or refreshant in an atomizer.
It is far more freshening, easier to use, economical. A
quick cream cleansing and a generous spray of your
favorite lotion, or soap and water followed by a spray
of ice water, should start a happy day. Blot off surplus
with tissues and while still damp apply a touch of foun-
dation cream or lotion to nose, chin, cheeks, forehead.
Now you are ready for a touch of rouge and powder
[More Beauty Hinfs on Page 86}
Whether you rouge the
mouth heavily or lightly,
the lips should be clear-
ly defined. Marguerite
Churchill finds a paste
rouge and tiny brush
the first step toward
lovely lips. Outline the
mouth clearly, then fill
in with cream rouge or
lipstick. Another stunt
is to bring the well
rouged upper lip down
over the bottom lip
You might guess that these are Alice White's eyes but I'm not sure you could guess
what she is doing. This tiny conceit of a comb is used to separate the lashes after
mascara is applied. Comb after touching with mascara and before it is dry
59
lhe XJnknown tiollywood
By Katherine
Albert
I HAVE come to the last
chapter of my reminiscen-
ces of twelve years in that
strange and unbelievable
land that lies somewhere east
of Malibu where the best is like
the worst. I could go on for
months and months, but I feel
that I've imposed upon your
good nature long enough, as
the Hollywood after-dinner
speakers are wont to say, and
it is high time that I stopped
stroking my long, white beard
and remembering the time
when ... for the benefit of
the leetle keedies.
A couple of years ago a news-
paper writer in the Northern
part of California wanted to in-
terview Billie Dove and an en-
terprising press-agent doped
out the idea of having the star
questioned over the long dis-
tance telephone. The hour for
the call to come through was
set for twelve noon. Billie was
supposed to take the call in her
dressing-room and give the in-
terviewer the benefit of her
glistening personality over the
wire.
At noon the publicity de-
partment phone rang and a
harassed operator said, "Here's
that call from the interviewer
and Miss Dove isn't in her
dressing-room." While the toll
charges ran up, scouts were
sent out to the gate and re-
ported that Miss Dove had not come
in. So what to do, and again what to
do? The operator reported that
something would have to be done
quickly, for the long distance inter-
viewer was fuming.
ANEW girl had just been put in
the publicity department that
morning. She had come from an
Eastern town and'had secured the job
because of her newspaper experience
and her truly brilliant personality,
but she knew at that time as much
about picture people as Jimmy
Durante knows about the Einstein
theory. However, in an emergency
anything can happen at a studio.
The publicity chief rushed into her
office.
" You're Billie Dove," he shouted.
"And you're Greta Garbo," she
answered. The girl had been to a
couple of Hollywood parties and knew
all about games.
"No, no," said the boss, "you've
GO
I Know
Lupe Velez is the spirit of Hollywood. Her
volatile, noisy personality is the symbol of the
film center. Without affectation she says, "They
all love Lupe." The funny part is, she's right
"Old Ma Brent," is what Evelyn
calls herself because Hollywood
folks always tell her their troubles
gotta be Billie Dove. You've
gotta be- Billie Dove right now."
And before she could find an
answer to that one a telephone
was thrust in her hands and
she heard the up-state inter-
viewer say. " Well, good morn-
ing, Miss Dove, I'm glad we
got connected at last. Now let
me ask you a few questions.
What sort of role do you play
in your next picture?"
Wild-eyed, the girl put her
hand over the mouthpiece of
the phone and whispered to
the chief publicity man and
others who had strolled into
her office to hear the fun,
"What sort of role do I play in
my next picture?"
"Society girl." they whis-
pered back. "Swell clothes."
I PLAY the role of a society
girl, and my clothes are
beautiful, "the publicity woman
faked. "I've never had such
lovely gowns and I'm so happy
to be wearing them. I'm glad
long skirts are coming back,
aren't you?"
She sighed, but the inter-
viewer was persistent. " What
do you like to eat for break-
fast. Miss Dove?"
"What do I like to eat for
breakfast?" she asked, hand
over mouthpiece.
"Avocados," somebody sug-
gested.
"Avocados," she repeated into the
phone and then they heard her going
on. "Yes, certainly, I'm joking.
Must have my little joke, you know.
You see, I'm just an average person.
I like swimming and tennis and out-
door life and I love to go to bed early,
etc., etc., etc."
IT was over at last and the poor girl
hung up the phone and almost col-
lapsed upon her desk, when just at
that moment the phone rang again.
The publicity chief took the call.
"Oh, Lord," he murmured, "that
was Billie Dove. She's been on the
lot all the time. Thought she was to
take the call from the front office.
Now I've got to go over and square it
with her."
But when the interview appeared
in the paper, no squaring had to be
done. It was a very nice little story
that spoke favorably of Miss Dove's
charming telephone voice.
[ PLEASE TURN TO PAGE 112 ]
THESE THREE
SMART STARS
SPONSOR -
GAY STRIPES
LIGHT WOOLS
ALL WHITE
OUTH
yoir
' iaun
is in every
wool
line of this
jaunty beige wool suit which
you II see Anita Louise wearing in
"As You Desire Me." The mili-
tary jacket makes up for its brevity
in broad lapels and shiny meta
buttons. A silk cravat is bordered
in the wool. And that stitched wool
sailor is an added smart detail.
CLATTERING all white is
I Loretta Young's choice
for a "Week-End Marri-
age" costume! The combin-
ing of a white wool jacket
with a silk frock is new.
Black stitching on her hand-
bag is the sole color note.
MORIZONTAL, vertical, chev-
I I ron — stripes go every which way to
make this clever wool frock for Kay
Francis. Did you ever see puff sleeves
done better? The whole dress is so simple
— so wearable. Kay certainly dresses to
the part of a costume designer which she
plays in "Street of Women."
N
e w
Fa s h i
o n
Tren d s St
ea
VARIED SCREEN SETTINGS
SHOW YOU WHAT TO WEAR
.,"*•%.'•
:::••....*•*
THE three-quarter sports coat is a
new comer. This one worn by
Mary Astor in "A Successful Cal-
amity" combines yellow and brown.
Her brown wool dress is yellow
dotted and her accessories brown.
Clever shoes, what?
READ on another page
how this dress of Joan
Crawford s was made but
here you must note the un-
usual scarf and one-sided
cape. Stunning, isn t it?
jOOK at this trim
I sheer wool frock
Carole Lombard wears
in "Sinners in the Sun,
then note these details
— high collar, gradu-
ated buttons, cord belt,
sleeve epaulets.
Th
ese
Pi c t
u res !
BLUE is a Hollywood
favorite this year —
and here is Adrienne
Dore wearing it -to per-
fection in a soft chiffon
dinner dress. A pointed
satin girdle ending in a
tie at the back is a new
touch. In "The Rich Are
Always With Us."
ERE S something to try out on your chiffon
evening dress — accordion pleating from
top to bottom. Except for graceful shoulder
decoration of flowers, that's all there is to this
navy blue and gray print worn by Evalyn
Knapp in "A Successful Calamity."
ARE you listening? Madge Evans wears
r\ this grand sports dress in her new picture
by that name. It sponsors the white-with.-a-
color vogue by trimming wide wale pique
with buttons and belt in brown and white.
Nice crisp tailoring to pockets and pleats.
Madge's accessories are right, too.
I
H
TRY THESE TRICK TIES WITH
YOUR SCARVES
DID you ever think how
many different ways you
can tie one triangular scarf?
Maureen shows you two ties
with this blue and white star
print scarf. Above, "The
Cowboy" tie. At right,
"The Sore Throat" tie worn
tucked into the jacket.
CCARVES braided like
*J pigtails! Have you tried
this? You can use two
scarves as Maureen O Sul-
livan has here — or you can
add another color. Mau-
reen wears her red and
white pigtail scarf tied un-
der the collar of her white
jersey jacket. A triangular
polka - dotted scarf tied
gypsy fashion makes a be-
coming sports headgear.
When the demon reporter, Len
Hall, was photographed with
Chita, who has a principal role
in "Tarzan, the Ape Man,"
PHOTOPLAY'S staff laid
bets on which was the monk
A Studio Monk Makes
His Plea For Fair Play
TOHNNY WEISSMULLER, famous swimming star who set
the country goggling in "Tarzan, The Ape Man," is a
picture stealer !
His beautiful muscles threaten the career — nay, the very
life — of the greatest limb-hanger and tree-swinger in all motion
picture monkdom.
These and other startling charges were made by Chita, the
cheerless chimpanzee, who co-starred in "Tarzan."
The melancholy monk dropped into the Photoplay office quite
by chance, except for prearrangement with the press-agent. Chita
arrived in a large traveling case such as might be used by a whole-
sale bootlegger. I grabbed pencil and paper and began my imita-
tion of a reporter. The chimp squatted sadly on the edge of my
desk. Ah, the pity of it ! All day he had been doing his stuff at a
large department store, poked and harassed by kids, and was jolly
well fed up with the so-called human race. He longed for the care-
free jungles of the Metro studios.
"I suppose you want the usual hooey," said Chita, wearily.
"Well, I think the New York skyline is marvelous, and your
American women gorgeous."
"Nix," I said. "I'll just ask you a few questions."
We were quite alone, save for three cameramen, two press-
agents and twenty members of the Photoplay staff, who were
laying small wagers as to which was the monk and which was Hall.
Captain Phifer, Chita's chaperon, hovered about to see that his
pet didn't gibber out of turn.
There was a deadly pause. The monk felt
mortified.
"Well," I said, with a flash of inspiration,
By Leonard Hall
"how do you like the movies?"
"Swell," said Chita. "It's a living. But I was gypped in
'Tarzan' !"
"How do you mean?"
"This Weissmuller fellow," snarled my whiskered friend. "They
gave him all the breaks. Since the girls have seen Johnny practi-
cally without any clothes on, they won't even look at their boy
friends in a bathing suit ! I'm no Garbo, but I think I rate a look
now and then. And I understudied that Weissmuller ! "
"You sound bitter," I commented.
"Bitter? I'm boiling! Here am I, the best tree-swinger in
Hollywood at any weight, and they rave about this bird because
he can swim ! Why, any big baboon can paddle if you toss him
into the water!"
"Speaking of Hollywood," I said, just to get the monk's mam-
moth mind off his woes, "how do you like the place?"
" Great ! " said Chita. "Just a big group of hard-working, home-
loving people. Of course, they have their moments. I'll never for-
get the big peanut-roast Wally Beery threw for me. Hot goober !
Was that fun!"
" I'll just bet it was. And who are your favorite actors out there ?"
"Let's see. I like Greta Garbo, Norma Shearer, Joan Crawford,
Marie Dressier, Clark Gable, Wally Beery, Polly Moran, Ramon
Novarro and Lionel Barrymore, but I don't think much of this
Weissmuller."
"Whoa!" I said. "That whole mob seems to work for Metro.
Did you ever hear of a Marlene Dietrich or a
Connie Bennett in those parts ? "
Chita found [please turn to page 110]
65
We Present Two Splendid
Above, Ann Dvorak, the girl who deter-
mined that neither love nor marriage
should ruin her career and then de-
cided that — but read the story to find
out. She inherited much from her
mother, Anna Lehr (right) who, when
this old still was made in 1914, was one
of the most promising emotional ac-
tresses of the screen. Below is a differ-
ent Ann, with Paul Muni in the sensa-
tional gangster film "Scarface." Here
Ann is the serious dramatic actress and
they say her performance is one of
those things that you will never forget
Ann Dvorak, who
is Hollywood's sen-
sational newcomer,
and her mother
By Ruth B iery
THE other generation" — that's what Ann Dvorak
calls her mother and her mother's contemporaries.
Ann's mother sacrificed a brilliant career for mar-
riage.
Ann took a solemn oath that she would never do that, no
matter how much she loved a man. Then Ann married
Leslie Fenton. How could she reconcile this gesture to her
earlier vow? The times — along with modes and manners —
had changed. Ann knows that marriage and a career can
march along hand in hand now. But I'm getting ahead of
my story.
Anna Lehr, Ann's mother, was one of the most promising
emotional actresses of the early
films. When the editor of
Photoplay visited Hollywood
in 1914, he met her and the
one-year-old baby. It was his
first trip to the motion picture
colony. But he predicted that
this beautiful young mother
would carve out a place for her-
self in celluloid. Anna was
making the first version of
"•Ramona" at the time.
Miss Lehr returned to the
stage soon after the editor's
visit, but came back to Holly-
wood, when baby Ann wa -
to fulfill her earlier promise.
•• Parentage," " Child for Sale"
and other dramatic pictures
gave her a place in the front
starring lines.
But to the women of that
day — those whom Ann Dvorak
calls "the other generation" —
romance meant more than any-
thing else. Careers were sec-
ondary. As for combining the
two — well, that was a difficult task then.
Besides, Anna Lehr had tried that. She had married Edward
McKim. Ann was born when the mother was just sixteen.
The effort to have both career and marriage failed and a divorce
was the result.
SO when Anna Lehr fell in love again with a handsome young
CaJifornian named Arthur Pearson, she chucked ambition,
fame and success for romance and marriage, and devoted her-
self to making a home for her husband.
Baby Ann was in boarding school, where she remained until
she was graduated from high school and went out "on her own."
In fact, she was "on her own" — independent of her stepfather—
before graduation. She worked her way through high school by
teaching French, washing dishes and waiting on tables.
You'll see Ann in "Scarface." Howard Hughes' spectacular
gangster picture, which the censors of New York made famous
before its release by refusing to okay it. You'll also find her
giving James Cagney a race for [ please turn to page 114 ]
66
New Screen Personalities
George Brent, an-
other Clark Gable?
Don't you dare to
say such a thing
THE frantic search for more Clark Gables is on! If
there is one who can so inspire shekels into the box-
office — there must be others. That is, according to
the minds of Hollywood producers.
Every studio has its high-hope of the moment. Warner
Bros, has theirs. They gave George Brent, as his first role,
the lead opposite Ruth Chatterton in " The Rich Are Always
With Us"; he played the lead with Barbara Stanwyck in "So
Big," and now one with Constance Bennett — if they find a
suitable story.
When they think enough of a young actor — a complete
newcomer, to start him up the ladder from such a sure foot-
ing as these names warrant —
Chatterton, Stanwyck and Ben-
nett— you can mark my words
they think he is good.
Of course, they won't admit
that he's one bit like the Metro
sky-rocket. Oh, dear no. Their
hair actually stands on end and
their eyes pop from their sockets
if you even suggest it. "Don't
compare him to Clark. It will
ruin him. He's George Brent; he's
not Clark Gable."
Naturally, he's George Brent,
but just the same Mrs. Brent's
little boy got his break because
he does resemble Clark Gable.
Not only in type but in back-
ground. In fact, it's rather a
weird story. Even his only wife
was years older than the young
stock actor. But, we'll come to
those details later.
George was the chauffeur with
Alice Brady in her stage play,
"Love, Honor and Betray."
Clark was the husband. The
husband died along with three other men, including Robert
Williams and Mark Smith, for love of the woman. But the
chauffeur lived and ran away with the daughter. And the one
who lived was really the most important, according to all the
laws of drama. Which would make George top Clark in New
York.
CLARK and George were a bit discouraged when the show
closed. George landed first. With the Fox Film Company.
Left for Hollywood almost immediately — where he was care-
lessly buried along with other youthful New Yorkers signed
because they might "prove to have something."
Oh, he played a part with Lois Moran in " Under Suspicion,"
but eventually he was lost in the none-too-friendly shuffle.
Then Eric Von Stroheim saw him and made a grab. He was
signed on a ten-weeks' contract with Universal to play the old
Von Stroheim lead in "Blind Husbands." That was a long
time for one picture — but, of course, Von Stroheim was to
direct! It was never made, and George did his bit to help
We leave it to you. When folks say
that George Brent is a second Clark
Gable, executives jump up and down
on their hats and cry, "Not that!" But
there is a resemblance, and many of
the events in their lives have been
parallel. (Left) his big break with Ruth
Chatterton in "The Rich Are Always
With Us." How do you like the lad ?
"Homicide Squad" and "Ex-Bad Boy" to a
safe conclusion.
In the meantime, about a month after
George decamped from New York, Clark flew
out for a fling at "The Last Mile" in stock —
and to hunt for a break in pictures. They used
to talk over conditions together. Clark was
discouraged. Couldn't get a nibble. Told
George he was going back to New York. But George had de-
cided to stick it. Incidentally, they both sported around in the
Packards which their first Broadway incomes had provided.
Then Clark got a chance at Westerns. And the next thing
George heard was: Clark Gable was Hollywood's new sen-
sation.
George plugged along. If Clark Gable could do it, so could
he. A natural, human conclusion. He got an agent and
waited. After all, George had had much the same training as
Clark. True, he'd begun by shepherding on the green hills of
old Ireland. Barefooted; bareheaded; dogs trailing behind or
romping before him. The sheep belonged to his one hundred
per cent Irish parents.
George had come to America at fifteen and got in some good,
American public schooling for four years, with relatives who
had left the Emerald Isle. When he returned he went into the
Intelligence Corps of the rebel army.
These boys attached to Ireland's rebel army, which was fight-
ing for national independence from [ please turn to page 114 ]
67
To Reduce Double Cbins
To Mould Lines Of Nose
Hands covered with cold cream, rub down from tip of
chin to base of neck with right hand. Rub up from
base of neck, up under chin and along under jaw line
with left hand. Keep neck and chin relaxed but be
sure to dig well back under chin. Down with one
hand, up with the other and repeat on the other side.
Be firm, but not rough. When you've done this for
ten or fifteen minutes, slap on a generous amount of
cold water with your hand. Slap hard for a long time.
Never do any unnecessary stretching of the neck
Think of your face as a sculptor thinks of his clay.
You can mould your face to proper lines and propor-
tions with time and patience. Here is the way to
make a large, flat nose smaller. With hands in this
position, and generously smeared with cold cream,
press firmly on either side of the nose and then, with
a slightly less firm pressure, rub outwards along the
nose and then slightly upwards. Do not pull the skin
too hard, but be firm. Laughing wrinkles and lines
under eyes can be taken away with gentle massage
P/
ease
! Yl
ease
lour \_j
ommon
S
se
ense
HOORAY and a couple of first class whoops! Hundreds
more of you lazy girls have come into Sylvia's fold,
and those who wouldn't string along with me at first
have seen the error of their ways and are taking off
those pounds where they are not necessary and putting them on
where they are. It's great — isn't it? And I love every one of
you for being brave enough and smart enough and sensible
enough to do it.
But I've got a bawling out — one of the kind that Sylvia gives
best — for about half of you. The rest can listen in, too. It
won't hurt you a bit.
Last month I begged you just to use common sense. This
time I've stopped begging you. Either get some brains or stop
reading my stories. I'm sick and tired of the silly questions a
lot of you ask. Now, mind you. I'm delighted to hear from you
and it gives mea thrill to know that thoseoldpoundsare melting
off like the butter you mustn't eat, but I do get out of patience
when you keep on asking me things that your own common
sense should tell you.
Says Sylvia i
So I'm going to try to explain to you just a few things about
the work I m trying to teach you how to do, and I want you to
listen carefully. Think of your body as so much sculptor's clay
to be moulded. When a great sculptor starts to work, all he has
is a bunch of wet clay and he makes something lovely out of it.
You have your bodies to work with. You can make them
beautiful.
I've remoulded the figures of hundreds of screen stars. I
can do it with my hands. But you can do it with your brains,
if you'll only stop whining and use those brains.
I'm not talking to you at long distance because I'm afraid of
you. I talk to the stars like this face to face and more than one
I have refused to treat at any price, because they couldn't
stand the gaff.
You see, I can't take up each individual
case. Remember, I want to tell you the things
that will help the most people, so you've got to
study yourselves. Stand in front of your
mirror. Discover the places where you're too
lumpy or where you need building up and then
concentrate on these places. Use a little im-
agination about it. Exercise and massage
builds up or takes down. You can exercise any
muscle in your body if you try. Concentrate.
Then do it yourself. Don't be like those stars
who had to have me do it for them. And don't
ask me for advice on every move you make.
Remember that I've given a general routine
for the average person. I know there are in-
dividual cases. For instance, I've had letters
from girls who work at the telephone or tele-
graph companies at night. These girls beg me
to tell them how they can adjust their reducing
routine to suit their hours. Oh, for heaven's
sake. Isn't that too silly? They have already
adjusted themselves to sleeping different hours
from other people, haven't they? They eat at
different times. Well, then, why can't they
take my reducing system and fit that into
their schedule? You see what a little common
sense will do!
And then I've gotten letters from girls who
are traveling in stock companies or for mer-
chandise houses. They say they can only get
boarding house food, and ask me what to do.
Wouldn't you think they'd have enough com-
To Reduce The Back
Sylvia's Exercise For
Making The Bust Firm
Here's the way to have a firm bust. There is a muscle on either side
that runs from the top of the bust to either shoulder. Concentrate on
these muscles and, with arms above head, turn and stretch the arms
in such a way that you can feel that muscle grow tense. Do this in
front of a mirror, so you can see what you're doing. It is extremely
difficult at first, but any muscle can be moved if you concentrate upon
it. When the muscle moves you will feel your bust pulling upwards.
Then you know you're doing the exercise correctly. This will enlarge
those muscles slightly, but don't mind so long as it makes the bust
firm. In this month's article I also tell you how to reduce the bust
Make your back as round as possible
and pull your shoulders together, as if
you were trying to make them touch in
front. Keep arms relaxed. Roll slowly
back and forth from the waist without
straightening. Do not relax the back or
shoulders. Do this fifteen minutes a
day to take lumps off back and shoulders
mon sense to know? Take my diet and suit it to your individual circum-
stances (but this doesn't apply to you who can take the diet).
For instance, coffee and plain toast, with no butter for breakfast. Then for
lunch and dinner, cut fat off the meat and don't eat the gravy. Don't put
butter on vegetables, or if there is a thickened sauce, don't eat that sauce.
Don't eat bread. If there's a salad take off the mayonnaise. If you have a
stew pick out the meat and vegetables and let [ please turn to page 106 ]
69
Harold is Movie Crazy
??
Who is this beautiful senorita working those naughty
Latin wiles on our handsome Harold? Sh, sh, that's
a big secret. Professor Gentleman Lloyd just won't
reveal the lady's name. You'll have to see the
picture to find out her identity. And who won't?
It won't be long now until you'll be snicker-
ing yourself silly over Harold Lloyd in
"Movie Crazy." And all your friends, too.
Here is PHOTOPLAY'S special preview in
pictures, just to prepare you for the fun
that's coming. That lovely blonde is Con-
stance Cummings, who is Harold's new
leading woman. What a break for her!
Harold plays one of those dumb guys who
thinks he's got a great moment to give the
talkies— a sort of Merton of the Movies
brought up to date. And there will be
plenty of behind-the-camera atmosphere
with Lloyd pulling gags right out of the
microphone and doing nip-ups with the
Klieg lights. Lots of fun for everybody
70
Photoplay Magazine for June, 1932
Lady Mary Pakenham says: "I've found the Pond's Method better than all the complicated beauty treatments. It keeps one's skin in marvelous condition.
Use the Two Creams which are the
greatest favorites in England
IT'S part of the English code of gra-
cious living — the English complexion,
cool, fresh and fragrant as roses washed
in dew.
No wonder the famous Two Creams
are "'best sellers" in England, for they
supply three of the four essentials of skin
beauty . . . Cleansing . . . Lubricating . . .
Stimulating . . . Protecting.
The very texture of Pond's Cold Cream
shows you why it is the favorite cleansing
cream — rich in smooth cleansing oils that
penetrate to the depths of the pores and
float out dust and grime. Pond's softer
Cleansing Tissues are
the best way to remove
cold cream . . . These
two together assure
your skin the first es-
sential of loveliness —
immaculate cleansing.
Lady Esme Gordon-
Lennox says: "Pond's
Tuo Creams are the surest
protection I hare ever found
for my skin."
For lubricating, more Cold Cream! Pat
in each night, after the bedtime cleansing.
Its rich oils keep your skin supple and
elastic, so that wrinkles will not form or
telltale "bagginess" appear . . . To stimu-
late the skin is the mission of Pond's Skin
Freshener, which tightens pores and tones
by quickening circulation, firms contours
and keeps them fresh and
young.
For protection and powder
basePond'sVanishingCream
is ideal — made on a formula
that cannot dry your skin.
"Pond's is a simple way to
achieve soft, supple skin,"
says Lady Allvgton.
follow the Pond's Method to gain the
celebrated "English complexion":
1. Generously apply Pond's Cold Cream sev-
eral times during the day, always after ex-
posure. Let the fine oils penetrate every pore
and float all dirt to the surface. Wipe away
with Pond's Cleansing Tissues, softer, more
absorbent, white or peach . . . half again as
many in the big new i5t box!
2. Pat briskly with stimulating Skin Fresh-
ener to tone and firm, close and refine the
pores and keep contours fresh and young.
3. Smooth on a dainty film of Pond's Vanish-
ing Cream always before you
powder, to protect your skin
and hold the powder. Use this
exquisite Vanishing Cream wher-
ever you powder — arms, shoul-
ders, neck . . . and to keep your
hands soft and white.
4. At bedtime, always repeat
the Cold Cream and Tissues
cleansing to remove the day's
accumulation of grime. Then,
when the skin is immaculate,
smooth on a little fresh Cold
Cream to soften and lubricate
the skin and leave it on overnight.
Send \0i for Pond's 4 Prodtjcts
pond's extract company, dept. p
udson Street ■ • • ■ New York City
1
These preparations are all you need
City-
State _
Copyright, 1932, Pond's Extract Company
Tune in on Pond's Fridays9:30 P.M., E.D.S. T. Leo Reisman and his Orchestra and guest artist. WEAFand X. B.C. Network
Photoplay Magazine for June, 1932
Billie Burke
"I'm 39," says this radiantly youth-
ful star. Who would guess it from
this recent photograph! "To keep
youthful charm you must guard
complexion beauty. I use Lux
Toilet Soap."
Lux
Photoplay Magazine for June, 1932
73
WAicA star is iry. .
wAicA is HQ--
Screen Stars know the secret
of keeping Mouthful Charm
ONE gloriously lovely at 19 — the other
radiantly beautiful at 39! Who could tell
which is which? Years do not rob the stars of
beauty. They have learned the secret of keep-
ing youthful charm.
"I don't see why any woman should look
her age," says the lovely Billie Burke. "I
really am 39 years old. Youth always has irre-
sistible attraction, so one must be wise enough
to keep its charm right through the years. To
do this it is important above everything else to
guard complexion beauty."
"I'm 19," says Joyce Compton. "But no
matter what my age, I could never hope to
look lovelier than Billie Burke does right now.
What a comfort to know her secret of com-
plexion care!"
How does Billie Burke keep her adorable
young charm? "To keep my skin clear and
soft," she says, "I use Lux Toilet Soap regu-
larly— and have for years." And Joyce Comp-
ton follows her example! She, too, uses this
luxurious white soap regularly to guard the
precious peach -bloom freshness of her skin.
"Lux Toilet Soap keeps one's skin so youth-
fully smooth and clear," she says.
g out of io Screen Stars use this
safeguard for complexion beauty
Of the 694 important Hollywood actresses,
including all stars, 686 guard complexion
beauty with Lux Toilet Soap. It is such a
favorite with them that it has been made the
official soap in all the great film studios. The
Broadway stars, too, have an overwhelming
preference for it.
Gentle and so beautifully white that no
other soap can rival it . . . Lux Toilet Soap is
excellent for every type of skin. If you are not
utterly satisfied with yours, why don't you try
this fragrant white soap?
Toilet Soap-io*
Stagg
74
\X7"HEN "The Bird of Paradise" company returned from location
* * in Honolulu, they brought a little chunk of Hawaii with them
and put it in Hollywood. Would you believe that that wild hulu
dancer, gone as native as a grass skirt, is smart Dolores Del Rio, one
of the most sedate and ladylike social leaders of the film colony?
Photoplay Magazine for June, 1932
Well, then, why dorit you try
"I like to be original — but do you know why I started
using Colgate's? I'll tell you. I was talking to my dentist
about toothpastes being good for this and that ... He
said, 'Jean> do you know what a toothpaste is for? A
toothpaste is to clean teeth — just that and nothing
more.' And he said no toothpaste can do it better than
Colgate's. Since I pay my dentist for advice, I'm going
to take it. Besides I like its flavor! And maybe you think
the price of a quarter doesn't appeal to me nowadays."
The American Dental Associa-
tion, Council on Dental Thera-
peutics, has placed its Seal of
Acceptance on Colgate's Ribbon
Dental Cream.
How Ihey Dave Crawford's lime
Imagine having a stunning frock finished to the last
twist of the scarf without the tedium of endless fit-
tings! That's what happens with all of Joan Craw-
ford's costumes; the studio designers save her wasted
motions. Below Joan is wearing the completed gown
of silver cloth which Adrian designed for her new
picture, "Letty Lynton." Isn't it a perfect fit?
And here you see the skilled workers who save Joan's time.
Adrian's sketch is first copied in muslin so that the precious silver
cloth is saved a possible miscutting. Then the muslin is fitted to
a dummy figure which is of Joan's exact proportions. This
done, the muslin gown is next taken apart and laid on the silver
cloth. The last step shows the silver cloth gown being given
its final fitting to the dummy before Joan herself tries it on
76
Photoplay Magazine for June, 1932
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Read This Before As\ing Questions
Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. If you want a
personal reply, enclose a stamped, self-addressed
envelope.
Casts and Addresses
As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
to Questions and Answers, Photoplay MAGAZINE,
221 W. 571I1 St., New York City.
JUNGLE NOISES! And Tarzan pops out of
the mail bag and leaps to the top of this
month's list. Sports followers are ac-
quainted with this big fellow who is known as
the champion swimmer of the world, but those
who do not follow sports events write in to ask
''Where had this lad been hiding?''
Johnny Weissmuller (Tarzan), who made his
first screen appearance in Grantland Rice sports
short subjects demonstrating his swimming
form, appears for the first time as an actor in
"Tarzan, the Ape Man." Johnny was born in
Chicago, 111., of Austrian parents. He was
educated in public schools and the University
of Chicago. Took up swimming, at the advice
of a doctor, to fight off ill health. He now
stands 6 feet, 3 inches in his stocking feet and
weighs 190 pounds. Has brown hair and
brown eyes.
He was the American hero of the Olympic
Games in Paris in 1924 and in Amsterdam in
1928. Altogether, he has captured seventy-five
world speed records for swimming. He went
over so big in his first picture that M-G-M has
planned a sequel to "Tarzan," with Johnny
once more a hero.
Johnny is married to Bobbe Arnst, former
star of New York musical comedies. His
hobby is snapping kodak pictures at every
opportunity. Read more about him in
Katherine Albert's fine interview on another
page of this issue.
Nancy Lee Franklin, Washington, D. C.
— Joe E. Brown was born July 28, 1892, and is
5 feet, 9]-2 inches tall. He has blue eyes and
his hair is the same as his name. The "E"
stands for Evans. Joe's next picture will be
"The Tenderfoot."
Helen Henderson, Niles, Mich. — Tully
Marshall is one of the real old timers, having
been in pictures since 1916. Tully was born in
Nevada City, Calif., back in April, 1864. He
is 5 feet, 9% inches tall and has graying brown
hair and brown eyes. Some of his latest pictures
are "The Hatchet Man," "Broken Lullaby,"
"Arsene Lupin," "The Beast of the City,"
"Scarface" and "Grand Hotel." I wonder
when he sleeps!
Sam Banham, Jeffersonville, Penna. —
Sam, that long drink of — ahem — Charlotte
Greenwood — was born in Philadelphia. She
entered pictures in 1927. Some of her recent
pictures are "Palmy Days," "Flying High,"
"The Man in Possession," "The Passionate
Plumber" and "Cheaters at Play." She is
married to Martin Broones.
78
Hundreds of movie-goers are asking
"all about this chap Tarzan." Tarzan,
of course, is Johnny Weissmuller, cham-
pion swimmer. Here he is with
Maureen O'Sullivan and Neil Hamilton
Paula, Montreal, Can.— Here are the
measurements you wanted. Lupe Yelez,
Marian Nixon and Raquel Torres are each 5
feet, 2 inches tall. Marian tips the Toledoes at
100 pounds; Lupe at 106 and Raquel at 110.
Dolores Del Rio is 5 feet, 43^ inches tall and
weighs 120. Eddie Quillan is 5 feet, 6 and
weighs 140.
Pudge, Wheeling, W. Va. — Imagine being
born in China on St. Patrick's Day. That's
what happened to Sari Maritza. Sari comes
from Tientsin, China, where she was born
March 17, 1910. She is the daughter of Major
Walter Nathan and her real name is Patricia.
Her father is English and her mother Austrian.
Sari was educated in London, Berlin, Paris and
Switzerland. She has never been on the stage.
Appeared in British films before coming to
the U. S. A. last December. Has won many
medals for swimming and diving, and holds a
championship for skating at St. Moritz. Sari
is 5 feet, 1H inches tall; weighs 10.5 pounds and
has brown hair and blue eyes. Her first
American picture will be "Cloudy With
Showers," for Paramount.
M. Parker, Chevy Chase, Md. — Mary,
you can get 8 x 10 photos of Greta Garbo and
Clark Gable by sending to Photopi \\ Mag-
azine, 919 X. Michigan Avenue, Chicago, 111.
The photographs are 25c each. Photoplay
also has photos of Constance Bennett, Joan
Crawford, Marlene Dietrich, James Dunn,
Miriam Hopkins, Fredric March, Robert
Montgomery and Norma Shearer. Send your
order in early as the supply is limited.
Beatrice Gustafson, Philadelphia,
Penna. — Bea, all of the girls you mentioned
are quite short. Barbara Kent, Armida, and
Dorothy Janis are each 4 feet, 1 1 inches. Janet
Guvnor, Alice White, Dorothy Lee and Sidney
Fox beat them by one inch. These heights are
in their little stocking footsies.
Lottie Keyser, Los Angeles, Calif. —
Sorry, but I have no record of the baroness you
mention. Director William Wellman was
married to Marjorie Crawford last December.
She is his second wife. He was formerly mar-
ried to Marjorie Chapin and they had one
daughter, Gloria.
Marcia Ajkerman, W. Mansfield, O. —
Since appearing in "Five Star Final," Aline
MacMahon has been in "Heart of New York,"
and "The Mouthpiece." Her next will be
"Week-End Marriage."
James Hodge, Toronto, Can. — Laurence
Olivier comes from Dorking, Surrey, England.
He is 25 years old, 5 feet, 10}^ inches tall;
weighs 150 and has dark brown hair and dark
green eyes. Appeared on the stage in "Jour-
ney's End," "Private Lives" and "Paris
Bound." His next picture will be with Ann
Harding in " Westward Passage." Laurence is
married to Jill Esmond, English stage and
screen actress.
Janet Winston, Comngton, Ky. — Janet,
after Colin Give finished in "Frankenstein,"
he deserted our shores for merrie ol' England.
He recently finished making "Lily Christine,"
a British picture with Corinne Griffith. I be-
lieve he is appearing on the stage in England at
the present time. Here's his history. Colin
was born in St. Malo, France, January 9, 1900.
He is 6 feet tall and has dark hair and gray
eyes. Attended British schools and graduated
from the Sandhurst Military Academy. Has
been on the stage since he was 19. Is married
to Jean de Casailis, well-known actress of
European and New York stages.
Lois, Florence, Ala. — The great Garbo
was born September 18, 1905. Anita Louise
first saw light on January 9, 1917, in New York
City.
Dot and Georgie. — The girls who appeared
in "Gold Diggers of Broadway" were Nancy
Welford, Winnie Lightner, Ann Pennington,
Lilyan Tashman, Helen Foster and Gertrude
Short. Ina Claire was not in it. Here's the
lowdown on Charles Starrett. He was born in
Athol, Mass.. March 28, 1904. Is 6 feet tall,
weighs 185, and has dark hair and brown eyes.
Attended Dartmouth College. Charles has
been married since 1927 and has two fons.
Jean Graham, St. Louis, Mo. — Jean, the
lad you are trying to identify is Eddie Nugent.
Eddie was born in New York City. February 7.
1904. He is 6 feet. 1 inch tall; weighs 155. and
has dark brown hair and green eyes. Attended
New York schools and appeared on the stage
before going into pictures.
Photoplay Magazine for June, 1932
79
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does so much more — that looks so
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Everybody who tries out the
Rockne says it's wonderful — a new
sensation. You'll say so, too.
In fact, if you like your cars a
little different — more dashing in
appearance and more brilliant in
performance — one demonstration
drive in a Rockne is going to con-
vince you that nothing else will do
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Cal York's Monthly Broadcast from Hollywood
[ CONTINUED FROM PACE 39 ]
DOPULAR DEE— that's what they're calling
Frances. She has more beaux than any girl
in Hollywood.
Among the lads who make dates with her
art- Charles Boyer, Randy Scott and Russell
Gleason,
Constance Cummings and Junior Laemmle
arc holding hands under tables.
Iiut Sidney Fox is not going to marry that
artist she's been going with.
She saves three nights a week for dates
with him — that's all.
A N'D if you don't believe they are senti-
*-mental listen to this. Ginger Rogers gave
director Mervyn LeRoy a tiny gold book for
his watchfob.
When he opened it there was a picture of
Ginger engraved on the inside.
Beneath it was inscribed, "May this picture
never be released ! "
And there is a budding romance between
Robert Young, of ''The Wet Parade'' and
Virginia Bruce.
Even Xorma Shearer's father has felt the
call of spring and has married again.
Lola Lane positively denies all those rumors
that she is expecting the stork.
But Sue Carol, Helen Twelvetrees and Mary
Astor admit that they are on the mothers-to-
be list.
"COR a long time now Mary Astor has been
saying that she wanted a baby. But lots
and lots of the glamour girls have said that.
Mary really meant it. And sometime in
August the baby will be born.
The birthplace will be Honolulu for Mary
has always wanted to travel in the South Seas
but couldn't find time. And the swell part is
that her physician will go right along with her.
He's Dr. Franklyn Thorpe who is, incidentally,
Mary's husband.
"If it is a boy I want him to be a doctor,"
says Mary. " If it's a girl I don't care — just so
long as she stays out of pictures."
But Mary will come back to the screen as
soon as the child is born.
JACKIE COOPER stood looking up
at the billboard advertising Bela
Lugosi in "Murdered Alive."
"Huh," he remarked, "there's no
sense to that. He couldn't be mur-
dered dead, could he? He'd have to
be alive to be murdered."
Which is pretty good logic.
■"THEY had just finished the last scene for
'When a Feller Needs a Friend" in which
Jackie Coopcrand another lit tie boy have a terrif-
ic fight with Jackie winning in a blaze of glory.
As they strolled away from the set the other
kid began to tease Jackie. Jackie stood it for
ral minutes and then wheeled upon the
bey, "If you say one more word," he shouted,
'there's going to be a re-take on that last
scene right now!"
TT) thousands of fans Jackie Cooper is "that
sweet little boy with so much talent." But
to Jackie's nineteen year old uncle, who lives
with the Coopers, he's "that meddlesome
brat." For when Uncle Jack's girl friends call
up Jackie answers the phone, imitates his
uncle's voice, kids the girls along and some-
times makes dates in Uncle Jack's name.
"T HAD the swellest dream last night."
Jackie Cooper told his mother one morning
at breakfast, "I dreamed that Garbo was
playing the part of my mother in 'When a
Feller Needs a Friend.'"
So does that make Garbo Jackie's night
mere, as the French have it?
T REALLY hate to t 11 all my charming young
lady readers who rave about Gene Ray-
mond's platinum hair, about this, but it's
true that Gene is going to touch up those
locks a bit, making them just a trifle darker.
When he works with brunette leading women
he looks like a tow-head by contrast.
[ PLEASE TURN TO PAGE 83 ]
Years ago — we promised we
wouldn't say when — this pic-
ture won for its subject a
beauty contest. She's a
mighty good looking girl,
measured by the standards of
the time. You'd never guess.
Give up then and we'll give
in. It's Polly Moran! Cross
our heart and hope to die.
The picture is Polly's most
prized possession and it has
never before been printed in
a magazine. Yes, the woman
who makes you laugh and
kids about her funny face is
proud of the beauty that once
was hers. "I look like a
gopher now," says Polly, "but
I wasn't so bad then, was I?"
But we think it's better to
make people laugh than to
look beautiful, don't you?
SO
/
932 B-V-D
EVENING GOWN BACKS
TOUQUET
I f\ I
i
DEAUVILLE
*i
MONTAUK
From Palm Beach to Bar Harbor
spread the news of a great revolution
in bathing suits.
B. V. D. did it. B. V. D., with famous
New York stylists and artists, had de-
signed the smartest bathing suits that
ever appeared on a beach or buffeted
a breaker.
. . . bathing suits with low-cut backs!
. . . bathing suits as smart, and as flat-
tering, as the new evening gowns!
These new 1 93 2 models are a triumph
superimposed upon a triumph. They
have the look of the hand-knitting of
France. In this year of grace, 1932, you
simply have to wear perl-knit or ripple-
knit! Wear your old evening gown if
you must. But don't step out into the
brilliant sunshine of the beach in any-
thing except this new kind of bathing
suit!
High waist-lines are in these suits
— grand lines around the thighs — a
REG. U S. PAT. OFF.
B-V-D
Copr. 1932
TheB.V.D. Company, Inc.
coup that your best dressmaker, even if
she lives in Paris, couldn't excel.These
new B.V. D. Surf Suits are a success
— the Florida season proved it.
Old style suits are out— definitely
out. You might as well wear bloomers
and mutton-leg sleeves! But if you want
to look over the grandest bathing suits
you have ever seen, send in your name
and we will have a shop in your vicin-
ity smart enough to have ordered
them. We will be happy to send you
the name and address of the shop.
The B. V. D. Co., Inc., Empire State
Building, New York City.
tjx4v tne command of the smart fiostess
COMMUNITY CUT CRYSTAL
DESIGNED TO MATCH THE SILVERWARE
TO INTRODUCE COMMUNITY CUT CRYSTAL, Silverware dealers every-
where, during June, will give a set of matching Water Goblets with each
I'ARK LANE Silverware Service in the Lady Hamilton. Xoblesse, Deaiaille
or Cro.wenor design of Community Plate. Lovely Silverware, a full modern service, in
tin- latest designs. A luxurious new anti-tarnish chest. And goblets of gracious dis-
tinction, cut to match the Silverware designs. An extraordinary value! Community
Crystal Water Goblets sell for $12.00 the dozen. These Water Goblets will be given
only with services in the new PARK LANE CHEST — and only during June.
INTRODUCTORY OFFER
*
June /st to 30th
A GIFT OF
COMMUNITY CUT CRYSTAL
with each purchase of
COMMUNITY PLATE in the NEW
PARK LANK {Anti-Tarnish) CHEST
Silverware Service for Six ^'^J-^.'O
(o \\ ater Goblets free, value $6.00) "" —
*28:;
Silverware Service for Eight .» '^/x50
(8 Water Goblets free, value $8.00) '-' *-*
(12 Water Goblets free, value $12.00)
'54(
DE LUXE STAINLESS KM\ 1-
are included in the above.
An additional charge is made for Hollow Handles
(Above prices subject to lax if in effect
at dale of sate)
THE PARK LANE CHEST
COMMUNITY PLATE
^A cutters /up in ^^J'esujn c yf-Liztnorifi.
r
y,
J
Cal York's Monthly Broadcast from Hollywood
CONTINUED FROM PAGE 80
Y\ THEN "Grand Hotel" opened in New
^^ York hardened Broadwayites muttered
that nothing like it had ever been seen on the
Street of Broken Hearts since Tony Pastor
was a boy.
New York doesn't take its openings as seri-
ously as Hollywood does but on this night
lights pierced the sky, ermine coats were
gotten out of moth balls and every celebrity
in town attended.
It was the picture, itself, that drew the
crowds for not a single actor in the "Grand
Hotel" cast was there in person. So that left
all the attention for the celebs who attended
— Ina Claire, Larry Tibbett, Dorothy Mackaill,
Grace Moore, Jimmy Cagney, Cliff Edwards
and just lots more.
A ND New York did a stunt that is peculiar
to Hollywood. When the members of that
tremendous cast appeared on the screen they
were greeted by applause. And there was hand
clapping after some of the big emotional scenes.
Jimmy Cagney did not miss a single screen
move Lionel Barrymore made. Of course, the
critics raved about it the next day and said
that this was the first time so many stars had
been gathered together for one picture.
Now maybe I shouldn't, at this time when
-..^.-.rhody is so happy about that picture,
blaze a trail. Garbo, Joan Crawford, The
Barrymores and Wally Beery were in " Grand
Hotel." But years and years ago C. B. De
Mille did a little trail blazing with "The
Affairs of Anatole" in which Gloria Swanson,
Bebe Daniels, Wally Reid, Elliott Dexter and
other stars as great in their day as the "Grand
Hotel " cast is now; played together. Do you
remember? Or, rather, will you admit that you
remember?
T^DDIE GOULDING says that
"^^when he was directing "Grand
Hotel" the favorite remarks of part
of his cast were these.
Lionel Barrymore, "I'll be back
in a minute."
Jack Barrymore, "Was that all
right?"
And
Greta Garbo, "Oh, what now?"
TX THEN "Grand Hotel" was finished just
one added scene was necessary — a shot
of Garbo walking through the lobby.
But in the meantime Garbo had started
work on "As You Desire Me" and had to be
dismissed from that set to make the scene for
"Grand Hotel." In order to save delay they
rehearsed with a double.
^he girl did the wait ncrnin anrl nrrnin k— '
the timing wasn't right. She simply couldn't
walk as Garbo does.
Finally director Eddie Goulding dismissed
her, "I'll do it myself."
And, what's more, he did it so perfectly with
that Garbo swing that actors gathered for
miles around to watch the imitation. While he
was doing it Greta came on the set. Was she
mad? No, siree. She laughed louder than
anybody.
INCIDENTALLY Garbo has confessed to
Aone of her most intimate friends that Eddie
Goulding is her favorite director.
TLXERE'S the sort of thing that makes Marie
Dressier the most beloved woman in
Hollywood. Robert Young, the kid you liked
in "The Wet Parade," was being interviewed
the other day when Marie passed by his table.
She stopped and said.
"Well, young man, I'm glad to see you're
getting along so well. I always like the young
ones to get ahead."
Robert was dizzy:
"Can you imagine that — why, I've never
even met Miss Dressier and yet she takes
time to speak to me and even knows who I
am. Why I'd rather have those few words
than a thousand dollars."
Cal York's Monthly Broadcast from Hollywood
1 CONTINUED FROM PAGE 83 ]
•TALLULAH BANKHEAD has met Garbo
■*■ at last. Hut Tallulah isn't mentioning it.
Seems that Talloo was already at a party
when Garbo arrived. Someone introduced
them.
Garbo acknowledged the introduction with
a nod and walked away. Very shortly she
left the party.
And Tallulah once said that the only reason
she wanted to come to Hollywood was to meet
the Divine One.
COMEHOW you always think of Tallulah
^Bankhead as being very tall and statuesque.
As a matter of fact she is only five feet two, but
it is her secret wish to be as tall as she looks on
the stage and screen.
And when a critic refers to her as "the very
tall Miss Bankhead'' she is much more pleased
than if he had called her a second Duse.
And while I am thinking about Tallulah
Bankhead — which is a very pleasant way to
spend a couple of hours — I wonder if others
have noticed that the lady's legs are really
quite as beautiful as those of Marlene Dietrich.
Or is that sacrilege?
A/TAREEXE DIETRICH got accused of
pulling another Garbo not long ago when
sin- moved out of her house and didn't even
tell the studio where she had gone.
But Marlene had a reason. In order to pro-
tect little Maria from kidnappers, she had had
the windows of the house barred. Newspaper
photographers took pictures of it and gave the
address. From then on the Dietrich yard was
a picnic ground for tourists and there were
hundreds of folks, wanting to catch a glimpse
of the star, ringing the door bell.
Besides, Marlene was afraid that so much
publicity might endanger Maria's safety. So
she just packed her things and moved out.
And she's not telling where.
OPEAKIXG for myself, I've been pretty
*■■* bored by that prolonged squabble between
Marlene Dietrich and Mrs. Josef Yon Stern-
berg, the director's divorced wife, so I'm glad
that it's been dropped, after everybody wrote
letters to everybody else and the blame was
laid on a European journalist who seems to
have stirred up the whole mess by making some
misstatements.
So that's that, but nothing alters the fact
that Josef Von Sternberg needs a hair cut, no
matter who sues who for what.
"r\OUG FAIRBANKS, JR ., who looks very
"^^slim upon the screen is, in reality, quite as
husky and as athletic as his father. What's
more he has a physical trainer who is with him
constantly.
At first the trainer started to pull his
punches when they were boxing but Doug
insisted that he give him everything.
That is one of the reasons why Doug is a
hero over at the University of Southern Cali-
fornia among the football team.
When Doug was making "Forward Pass"
the U. S. C. team was used in the picture and
the boys had a lot of contempt for actors, so
when rehearsals began they let the stars have
it.
Big Boy Williams, who was also in the pic-
ture, didn't like the punishment and said so.
But Doug Jr., took it and asked for more and
that's why his name inspires a cheer every
time it is mentioned at U. S. C.
| PLEASE TURN TO PAGE 88 ]
Photoplay Magazine for June, 1932
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Helpful Summer Make-Up Hints
By
Carolyn
Van
Wyclc
With a becoming bathing cap that simulates the
hair, a touch of waterproof rouge, lipstick,
mascara, the beach is only another excuse for
looking our loveliest. Leila Hyams shows you
how waterproof beauty may be
Off with the old, then on with the new," in-
sists Madge Evans, re lipstick. Applying new
over old is fatal to attractive lips. Remove the
old with cotton or tissue, by light, vertical
strokes toward the inside
I REPEAT — what a difference a change in
headdress can make ! Before me is a pic-
ture of Anna May Wong in blonde wig,
her make-up somewhat Anglicized, I suspect.
I asked the girls in this office who it was. Most
of them didn't know.
Then there is Colleen Moore, sans bangs, just
when bangs hold the fashion limelight more
than they have in many years.
And while I'm mentioning bangs, at the
spring convention of the National Beauty Shop
Owners in New York, Hollywood stylists were
present because the owners did not wish to
predict fall styles without consulting Holly-
wood authorities. And Hollywood came forth
with the astounding prediction that at least
sixty per cent, of its actresses will wear bangs
in pictures to be released this autumn.
That should help you in deciding a summer
coiffure. And let me say again, if you wish to
revive Jim's or Jerry's interest in yourself,
change your hair. It makes things happen.
nrilE other night we were discussing eyebrow
*■ styles in Hollywood. "The first narrow,
skylarking brows came to us from Lil Dagover
in 'The Woman from Monte Carlo,'" said an
ex-director from the film colony. "Then Garbo
adopted them, and most of Hollywood follow-
ed. Early pictures of Garbo show her with
full, rather dark brows.
THAN" HARLOW hasn't any obvious brows
I at all. She has them, of course, but keeps
them plucked so that make-up is easy. When
you consider that Jean lias been making per-
sonal appearances, averaging three or four a
day for sixteen weeks straight, as this goes to
. you can understand the advisability of
being able to draw a little line with a dark pen-
cil and suddenly be "browed."
Jean has very beautiful deep blue eyes, and
lashes absolutely her own, almost an inch long.
She tells me that white vaseline not only keeps
them soft and in a healthy condition, but has
added considerably to their growth. Every-
one's lashes would be better off with a touch of
vaseline or lash-grower before retiring each
night.
Jean is far prettier actually than the screen
reveals her, I think, and her figure seems dif-
ferent somehow, too. She is about five feet
five inches tall, and weighs iog pounds. Her
bones are small but she is well covered.
Summer may mean sunburn,
freckles, too much tan, loss
of hair and skin beauty if you
don't know how to protect
and care for yourself. I have
some timely tips in ou-r June
letter, yours for the asking,
along with a sensible book-
let on normal reducing and a
helpful complexion leaflet.
And, of course, I'm glad to
help with your other beauty
problems, too. Remember to
enclose a stamped, self-ad-
dressed envelope with your
letter to Carolyn Van Wyck,
221 West 57th Street, New
York City.
"VWHAT has happened to Bette Davis? A
*^ very short while ago her pictures showed
her a distinctive, frail, soft English type. Now
her hair is very light, her lashes and brows very
black, a prototype of a hundred and one Holly-
wood girls. Bette has probably gone black-and-
white at request, but it is too bad that more of
the true values of human coloring are not pre-
served on the screen. Joan Crawford, for in-
stance, in "Grand Hotel" defies the average
eye to pick out make-up. There is a symphony
of grays, a harmonious relation between hair,
skin, eyes, mouth, altogether pleasing and con-
vincing. I think the public likes her this way,
too.
TN "Grand Hotel" you will hear Joan refer
-•- several times to her figure, "Do I need to
reduce ? " etc. Xo, Joan, you do not — not with
that slim, willowy body, smart in that tailored
garb of the little stenographer, Flaemmchen.
Every girl not satisfied with herself should take
a long look at Joan, then see old pictures of her
in our files. What she has done with her figure
alone should earn her lasting laurels. You. with
too much hip, you with too little bust, should
remember Joan, follow Sylvia'sadviceand make
of yourself just about what you'd like to be.
XTOW that snapshot time is here again, let
•^■^ me pass on to you a trick that
White passed on to me as having been pa
on by Mary Pickford, if you can understand
that If you have unattractive lines or shadows
in your face, pose with the light at your back or
over either shoulder, and in front hold a sheet
of white paper close to your body below the
range of the camera. Thus the light will be
reflected up and onto your face, so that it will
smooth out lines, eliminate shadows, make
values definite and clear cut. Try this.
S6
Photoplay Magazine for June, 1932
MAKE-UR
that creates
alluring
BEAUTY
Hollywood* s Secret! . . . Now
You May Share it with the
Screen Stars!
Discover your own beauty possibil-
ities with make-up in color harmony
for your type. Accept from Max
Factor . . . Hollywood's Make- Up
Genius, your personal complexion
analysis and Society Make-Up chart.
Mail the coupon.
Anew and different kind of make-up
originated and perfected by Max
Factor, Filmland's wizard of make-up,
for the stars of the screen, brings amaz-
ing new beauty to you.
It is based on Max Factor's discovery
of cosmetic color harmony which revo-
lutionized make-up in pictures.
Whatever your type in blonde, brun-
ette, brownette, or redhead, you may
now be sure of correct color harmony
make-up to blend perfectly with your
complexion colorings.
Face Powder, for example, will re-
veal to you the remarkable difference.
Each shade is a color harmony tone,
created by chromatic colors in scientific
balance... not just a flat color. No dan-
ger of off-color, spotty or powdery ef-
fects even under strongest artificial or
day light. . .because Max Factor's face
powder has been proved perfect under
blazing motion picture lights.
The texture is so perfect that even
the motion picture camera cannot find
the tiniest flaw. And it clings for hours,
too . . . for stars will not trust a powder
that fluffs away.
Joan Blondell, Warner Bros., and Max
Factor, Hollywood's Make- Up Genius, using
a color harmony tone in Max Factor' s face
powder for her type.
So here is the face powder that really
creates that even, satin-smooth make-
up that you've so admired in pictures.
Now you may enjoy this luxury. . .
Max Factor's face powder, created orig-
inally for the screen stars ... at the nom-
inal price of one dollar the box.
Based on the same color harmony
principle are Max Factor's rouge, lip-
stick and eyeshadow. . .fifty cents each.
At all drug and department stores.
Remember, too, its absolute . ____—-- j
purity is attested by a guaran- | Miniature Powder Compact, FREE J
Seal of Good Housekeeping J
Magazine
KAY FRANCIS
/';/ Warner Bros. -First National
feature" A Dangerous Brunette"
Max Factor's Make- Up used
exclusively.
quality and value as to receive the award
of the Academy of Motion Picture Arts
and Sciences, evidence of which you see in
every picture released from Hollywood.
Send for Your Color Harmony
Make -Up Chart for Your Type
Max Factor will create for you, your
own color harmony in powder, rouge, lip-
stick, eyeshadow and make-up essentials for
vour tvpe of skin, in Society Make-Up for
street wear... a make-up de-
signed to bring out every
bit of natural beauty, to
magnify the attraction of
your personality. Accept
this priceless gift... mail
the coupon now. L«
tee in each box carrying the I .
■ Max Factor — Max Factor Studioi, Hollywood, Cat. 1-0-04
Please send me a copy of your 48-page illustrated book, "The Nrw Art of
ind tbnf 1\[')Y I Society Make-Up," . .. also personal complexion analysis and make-up color harmony
. . chart. (Enclose 10c (com Of stamps) to cover the cost of postage and handling )
r actor s make-up is or such I
MAXiFACTOR'S Society MAKE-UP
j&fysmetics of the Stars icic HOLLYWOOD
96% of All Make-Up used by Hollywood's Screen Stars and Studios is Max Factor's
(Los Angela Chamber of Commerce Statistics) © igj2 Max Factor
- /Name
I AJJre
I
I Oty_
I
I State _
i
Ctmpln
Fair. O
Creamy . D
Medium O
Ruddy....O
Ol.ve □
Blue D
Grey... D
HaztL..D
BrowrL.D
Blick.. □
LASHES
L,gr,t...D
Dark D
BLONDE
Light. D Dark D
BRUNETTE
Lieht □ Dark □
BROWNETTE
Light D DarkXa
REDHEAD
L.ghl.DDarlcD
UK
MoutO
Dry O
_J
Photoplay Magazine for June, 1932
It's like NEW, Marie!"
Oui, Madame. I use IVORY SNOW.
It makes soft suds without hot
water, so the colors do not run/'
Easy dissolving in lukewarm
water — keeps colors clear...
Ivory Snow is an advanced kind
of soap for washing delicate fab-
rics. Instead of being cut into
hard, flat flakes, Ivory Snow, in
its liquid state, is BLOWN
through sprayers so that it dries
in a mist of tiny, soft bubbles.
These bubbles are thirsty. No
hot water is needed to dissolve
them. They melt into quick,
rich suds in water that is just
LUKEWARM. No danger,
then, with Ivory Snow, of mak-
ing colors run, of making tex-
tures harsh and stiff by plung-
ing your woolens, rayons, or
printed silks into too-hot suds.
No floating particles — no
soap spots . . . The round bits
of Ivory Snow leave no flat
particles floating in the water
which can stick to fabrics and
cause soap spots. This is one
reason why Mallinson, Cheney
Brothers and Truhu, as well as
weavers of woolens and blankets,
call Ivory Snow "the perfect
soap." It is especially good for
this year's "nubby surfaced"
silks, woolens and cottons.
Get Ivory Snow from your
grocer. See for yourself how con-
venient it is — how it saves your
clothes. Don't be afraid to use
enough to make a thick suds.
Ivory Snow is pure — as gentle
to fabrics as Ivory Soap is to a
baby's tender skin. The suds
rinse easily. And the extra-big
package costs only 15^.
Copr. 1932. Procter £ Gamble Co.
99£% PURE
Cal York's Monthly
Broadcast from
Hollywood
[continued FROM PACE 84 ]
TXSTEAD of shopping at sports shops to buy
-^new fishing tackle YYally Beery is a frequent
visitor at infants' wear stores. And the reason
is that little lump of sugar, his adopted
daughter, Caroline.
The other day he brought Caroline, in peach
taffeta, white shoes and an organdie bonnet,
on the lot for all to admire. But more people
looked at Wally than at Caroline for he was
all spruced up like the best man at a wedding.
Xo baggy trousers, no old suspenders. And he
even had on a tie!
A XD while you're trying to stretch your
salary like the rubber man in the circus
be consoled by the fact that Richard Barthel-
mess, who makes $8,000 a week, is economiz-
ing, too.
Dick has two big homes, one in Beverly
Hills and one at Malibu, but he has taken an
apartment and rented his two houses for a
very tidy little sum.
T_TELEN HAYES has had a charge
account at one of the smarter
New York stores for eight yeaxs. She
has shopped there all that time with-
out being recognized, although her
name was in electric lights on Broad-
way during most of that period.
When she came back to New York
after the release of "The Sin of
Madelon Claudet" she went in the
shop, ordered something and gave
the girl her name.
The saleswoman gushed, "Oh, yes,
Miss Hayes. You are from Holly-
wood, aren't you? You are the
motion picture actress!"
"DUSTER KEATOX and wife Xatalie Tal-
-^madge had a little family argument about
taking the boys for an airplane ride, B
said they should go and Mrs. Keaton said
they shouldn't, so Buster said, "Who wears
the pants in this house?" or something like
that and piled both the kids in a plane and de-
parted for the Keaton ranch in Mexico.
Scared silly. Xatalie rushed down to the
district attorney's office and demanded that he
make Buster bring the children right straight-
back this minute, so the D. A. set off in hot-
pursuit in a plane after Dead-Pan Keaton and
the kids. For all the world like a movie.
They all came back very meek, mild and
humble of heart, only to discover that Mrs
Keaton was mad now and had gone home to
sister Connie. So Buster sent her a phono-
graph record of "I'm Sorry Dear."
Stony silence from Xatalie's camp. Buster
sent another and another. Xo response. And
then suddenly he had an idea. He put a light
in the window for his prodigal wife. Xatalie
saw it and laughed.
She's home now. So is Buster. So are the
kids. And all is forgiven.
"K/TIRI AM HOPKINS went to Palm Springs
*"-*1o rest.
Jack Oakie went to Palm Springs to play.
Miriam stayed in her room. Jack sat at the
Photoplay Magazine for Junk, 1932
89
telephone in his room and called her every five
minutes begging, "Come on out and take a
swim, Miriam. Oh, come on out and play."
She stood it as long as she could. Then she
told the manager that his hotel wasn't big
enough to hold her and Jack Oakie at the
same time. The manager told Jack. So Jack
went away mad.
QREIGHTON CHANEY, stalwart
^son of the famous Lon, owns a
watch that the riches of the world
could not buy from him. On the back
the word "Son" is outlined in dia-
monds. It previously had the word
"Lon" on it, but Mrs. Chaney had
the L changed to an S for the boy.
A/TAURICE CHEVALIER usually looks
rather sad and a bit stern when he isn't
working before the camera. The smile is for
the flickers. And that straw hat he wears with
a tuxedo — well, he never wears a straw hat
with a dinner jacket in private life. Maurice
is an early riser and a heavy coffee drinker.
He has been called "stingy" by Hollywood
but the fact is that he supports a great number
of charities and he's just a little careful of his
money for Maurice has known great poverty
and he wants to have financial security soon.
1
1
iiH Ik - i
.■■■•■■
• •
« •
WH
1 .
I
% qj
E s
~ - „
— ™
J 1 - -
^^^^^Bh^SK
Cosmo
"Yassar, Mr. Cagney, yassar, they is
sho a lot of folks down to this ole sta-
tion to say you 'Howdy.' " That's
what the porter said when he looked
out over the Broadway boys and girls
who gathered round when Jimmy
Cagney returned from Hollywood to
New York on his second trip this
year. He came to the big city to take
a look at the stage play, "Blessed
Event," the one he was going to
do on the screen. But at the mo-
ment he and Warners are having
their annual argument about salary
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A hot summer sun may be fine for your !
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Here's the safe way to protect your com-
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samples of both the Olive Oil and Lightex
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OUTDOOR GIRL
Photoplay Magazine for June, 1932
f\NCE ;i very haughty lady on a boat met
^nim and said, "One hears you act in films."
"One does," replied Maurice.
" Well, well, I must go to see you. What are
some of your picturi
" 'City Lights' was my last. Ah, madam,
I was grand in that one. I help a little blind
girl. And 'The Gold Rush' — you should see
me rushing around in 'The Gold Rush.' "
He went right down the list naming all of
Chaplin's films and had the best time he's
had since last Bastile Day.
T__TKRL is the strange story of Elmer and the
greatest star of them all. Never heard of
Elmer? Shh, don't let Buster Keaton hear
you say it. Elmer isn't much of a dog, as far
as pedigrees are concerned, but Buster adores
him and the pooch has made the entire M-G-M
studios his home.
One day Garbo's car stood outside the sound
stage door waiting to take Greta to her dress-
ing room for lunch.
The chauffeur, sitting erect in the front seat,
felt someone settle on the back seat and,
thinking it was his regal mistress, drove off for
Garbo's dressing room.
With a grand flourish the chauffeur opened
the door and stood at attention. Elmer, head
and tail held high, walked' majestically out of
the car. And was the driver's face crimson
when he hurriedly drove back and found Greta
pacing up and down looking for her car!
But what a yarn Elmer told the other mon-
grels that night!
T7WREX MORLEY is defying all the laws
J-^of Hollywood laid down for newcomers.
She joins in no social activities and her friends
are those she had before she went in pictures —
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ing Cream.
Sa me
mostly her university pals. She refuses to
attend Hollywood premieres, only went once
when her studio insisted, and will not be seen
at the places where embryonic film stars are
supposed to be seen. In talking of Karen
somebody said, "She can't hope to get any-
where pulling stunts like that."
Which reminds me that not so many years
ago a bunch of people were sitting around dis-
ng a new girl called Garbo and somebody
said, "She can't hope to get anywhere pulling
stunts like that."
r IONEL BARRYMORE is an ex-
cellent pianist and has composed
several numbers — very high brow
ones. His pal, musically, is Ernest
Torrence, also a composer.
""THAT story about Lya de Putti is almost
unbelievable and yet it does seem to be a
fitting climax to the life of one of the strangest
women who ever Lived. Her death is just as
strange.
She was married to Zolton von Szepessy in
Austria and was the mother of two children,
one of whom is now fourteen and the other
eleven. Lya left her husband to go on the stage
and Von Szepessy bought a plot of ground in a
cemetery where he sunk a slab and had it
marked "Lya de Putti— died 1920." The chil-
dren thought their mother had actually died.
All during those years when Lya was rising
to fame (and. incidentally, that was her maiden
name and not a stage one) Yon Szepessy hoped
that she would come back to him. But when
she did not and when she. herself, died at last,
he committed suicide, leaving a request that
his body be placed beside the empty grave of
the wife who had left him.
Addnsi-
Citi
-Slalc
Rin Tin Tin buries a bone
Photoplay Magazine for June, 1932
Wide World
When Sally Eilers went to New York
for a three-weeks holiday, all the gos-
sip hounds got their heads together
and muttered, "Things can't be so
good between Sally and hubby, Hoot
Gibson." Well, the truth is that Hoot
was mad when Sally said she had to
have a vacation, but there was another
reason for Sally's trip that Cal York
tells you all about on another page.
First thing Sally asked for in New
York was — no, not to see the Empire
State Building — a lollipop. Any-
way, that's what her press-agent says
"TNON'T let Hollywood kid you. Neither
"^tennis nor polo is the favorite sport. It's
nice, lazy old sun bathing.
Joan Crawford gets herself burned to a nice
toasty color by lying in her own front yard.
Never mind, there's a high wall around it.
Evelyn Brent lolls on the beach in front of her
house and Elissa Landi has a spot on top of her
garage for tanning purposes.
Palm Springs, set right out in the middle
of the desert, is the favorite broiling place,
however.
Y\ 7HEN Ernst Lubitsch saw what a good
W picture "One Hour With You" had
turned out to be he wanted his name on the
title sheet as director.
As a matter of fact, he had supervised the
picture and George Cukor had done the actual
directing. However, Lubitsch had been on
the set all the time.
So everybody quarreled and at last credit
was divided like this. "Directed by Ernst
Lubitsch, assisted by George Cukor."
All of which seems ridiculously childish to
folks who don't give a gosh darn who does the
directing just so long as the picture is good.
• It wasn't her fault
she was c i I
olow!
except internally
She is a human tortoise! Traffic signals
change again before she gets started
across the street. Everyone says she's a
nuisance. But scolding won't help her.
Her dilatory ways, mental slowness,
and dull skin and eyes, all are symptoms
of one internal fault. They show that
her system is being poisoned steadily,
for sheer lack of internal cleanliness.
What a handicap! And how unnec-
essary! For a little care — and
the saline way to internal
cleanliness with Sal Hepatica
— would quickly get at the
cause of all these ills.
To drink salines for health's sake, and
especially to make the complexion
brilliantly clear and fresh, long has
been the habit of lovely Europeans.
To Vichy, Carlsbad, Aix they go, to
drink daily of the saline waters.
Sal Hepatica, the American equiva-
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Name-
City —
Street-
State-
92
jola Jape says
says
Ruth Ettinq
The New Bon Ton Tit* Way FouncL-\=>
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Photoplay Magazine for June, 1932
A WKI'l ER swears the story is true, but
■* *■ you can judge for yourself.
It seems, according to the writer, that
Walter Catlett was offered the role of a major
in a picture for Howard Hughes.
"Nup," said Catlett. "Never/'
''Why not?" asked the casting director.
"It's a good part."
"I've played generals," said Catlett. "I've
played colonels. I've played admirals. You
can't ask me to come down in the world and
play a major."
The casting director thought the matter
was serious. He took it up with everyone in
sight. And, since it made no difference to the
story, the major was solemnly promoted to the
rank of colonel. The casting director rushed
back to Catlett with the news.
"Okay," said the actor. "If I am good
enough to play a colonel, I am good enough to
get fifty bucks more a week." He got it.
A ND after the smoke cleared away
•*^from the Ernst Lubitsch-Para-
mount fracas, there is Ernst right
back on the Paramount lot again
with $125,000 for his next picture and
$130,000 for the second.
The famous Lubitsch touch!
TT was five o'clock. Sylvia Sidney wanted to
-*-quit work and Sylvia is the sort of girl who
does as she pleases.
"Oh, I'm so tired," she murmured, putting
her hand to her face and rubbing it wearily
across her forehead, eyes and cheeks.
"Look what you're doinj:. Sylvia," the di-
rector shouted. "You'll ruin your make-up."
Sylvia knew exactly what she was doing.
The mascara was all rubbed off those eyelashes
and made dark spots upon her cheeks. "Oh,
I'm so sorry," Sylvia exclaimed, "It will take
me an hour to put on a new make-up."
The director dismissed the company.
Now what are you going to do with a girl
like that?
"pOLKS who knew Vivian and Rosetta Dun-
can, those old close harmonizers who hob-
nobbed with royalty, are amazed at the change
that has come over Vivian.
The girls made millions and lost them. They
were stage favorites for years and years. And
the sisters were never separated. Not so long
ago they had an offer for a vaudeville tour at
$5,000 a week. Rosetta was thrilled at the
chance to get back behind the footlights. But
Vivian said "No," probably the first time she
has ever said "No," to Rosetta.
Keystone
Some day, maybe, they'll be pointing to this house and saying, "So that's
where the famous star was born." It was here — the Manor House in
London— that Michele Bridget Farmer was born, not so many weeks ago.
You don't know Michele Bridget Farmer? For shame— she's Gloria
Swanson's and Michael Farmer's baby girl. The house, incidentally,
used to be a row of garages, but it was built over and is now very smart
Photoplay Magazine for June, 1932
TO TAN
OR NOT
TO TAN
Ufa
Take a look at this girl. Hollywood
producers have offered her large sums
of American money to come to the
United States and make pictures, but
she says, "No, no, my friends. I'd
rather be the queen of the European
screen than just another actress in
Hollywood." And that makes Lilian
Harvey unique. But if those large
sums are doubled and re-doubled?
Oh now, Lil, think it over! Lilian
plays in "Congress Dances," one of
the better European films. She was
reared in England, Although her
father was German, and she is the
wife of Willy Fritsch
The reason is that Yiv has gone absolutely
domestic. Her husband Nils Asther and her
baby are all that matter to her now.
A ND Hollywood has never seen a father
^more devoted than Nils. When he is not
working the baby never leaves his side. And
here's the reason, which is something you didn't
know before.
Xils was the father of a child, by his first
wife, in Sweden. The baby died and for months
Nils was inconsolable. Now he's giving the
new baby all the love — and more, too — that he
gave the one who died.
■"THE other day a bunch of the home folks
were feeling pretty depressed about what
people like to call Conditions and some-
body said, "Look at those high paid movie
stars — they don't have to worry."
"Oh. don't they?" said Somebody Who
Should Know.
So everyone got out stubby pencils and old
envelopes and did a little higher mathematics.
Suppose you were a movie star and making
$1,000 a week. Twenty per cent, or $200, of
that goes to the government. And ten per cent
goes to your agent. For you couldn't get jobs
without an agent. You'd have to live in a
smart neighborhood and there goes $500 a
month for rent, which is letting you off pretty
cheap. Food and drink for yourself and the
Important People you have to entertain takes
another 500 berries.
Then there are clothes, expensive cars, serv-
ants (the studio would be as mortified as Jimmy
Durante if it caught you hanging out your own
wash in the back yard) insurance, personal
publicity and a dozen or so other odd items.
So by the time we were through there was
about $500 on the minus side of your income.
And we all got so doggone depressed that we
cried on each other's shoulders far into the
night.
And the next day we went to the movie just
to help those poor stars struggle along.
A most perplexing problem this
summer! Millions of exquisite young
heads are pondering its pros and cons.
Shall we go coppery tan . . . and be carefree as young gypsies this summer . . .
or shall we be fair and fascinating — unweathered — tan-free and freckle-frcc?
Helena Rubinstein, world-famous beauty authority, who summers on the
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smartest set, says it is entirely an individual matter this season. If you look
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the type that freckles excessively or turns dark, swarthy... daily cleansing with
her Pasteurized Bleaching Cream — and a protective film of her Sunproof
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Frequent daily cleansing with Pasteurized Bleaching Cream is a summer
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Photoplay Magazine for Junk, 1932
' I "HERE was loud rejoicing and clanging of
cymbals when word reached Hollywood that
little Renee Adoree, who has been battling for
her health for over a year in an Arizona sani-
tarium, is quite well again. She must remain
away from pictures for a few months, to gi I
her sea legs, as it were, but when she returns
there will be a royal welcome for the little
Melisande of "The Big Parade."
"DOOR One-Eyed Connelly, the
gate crasher, says things are so
tough that theater managers are
actually giving him free tickets to
world premieres instead of letting
him crash the gate.
DEMEMBER that pudgy little Lina Ras-
quette who got too much publicity and a
swelled head simultaneously? Well, Lina is
back in Hollywood — minus the excess weight
and carrying a load of humility. In fact, the
Basquette has a brand new personality that
makes her a charming young woman. She
arrived in Hollywood one Friday night and
began working in a picture Monday morning.
"NTORMAN KRASNA, the former
press agent who wrote the play
"Louder Please," received an offer
of $2,500 from one of the smaller
studios for the screen rights.
"Won't accept offer," Norman
wired back, "but I'll make you an
offer. I'll give you $80 for your
studio."
Quite burnt up the company an-
swered, "We withdraw our offer."
And Norman wired back, "Very
well, I'll withdraw mine, too."
"COR that scene in "The Man Who Plays
God " where the explosion occurs and George
Arliss is seated at the piano, real dynamite was
used to produce the right effect.
An expert with TNT was there to see that
no accidents occurred. Arliss took his place
at the piano. The technician called, " Is every-
body clear?" When suddenly an electrician,
who had just come to work that morning
shouted from the rafters, " Everybody Okay
but that little guy at the piano. Get him out
of danger!"
And even George Arliss thought it was funny.
A I.I. the folks with top hats and ermine
wraps felt pretty badly when Billy Haines
announced that when Tallulah Bankhead
stopped renting his big house and moved to
the beach he would rent his house again and
remain at his small apartment.
Bill saves money living at the apartment be-
cause there is not room enough for him to
give those lavish aiTairs with paid enter-
tainers and a corsage of orchids for each lady
guest.
But they do say that Bill has become a bet-
ter actor on the screen since he stopped acting
at his own parties.
~KA \F. CLARKE'S hospital assignment will
probably just be over by the time you
read this. Mae made eight pictures in one
year, one right after the other, and finished it
off with a complete nervous breakdown.
•"THE circus is going to have to struggle along
this summer without Tom Mix. Tom and
Tony are mighty satisfied with being back in
the films, I reekon, and even if Universal
doesn't exercise its option after Mix has fin-
ished the six for which he w:as signed, he's
going to produce his own Westerns and string
along in the Hollywood round-up.
TDAUL LUKAS has a mania for stray dogs
and picks up every one he sees. One night
one of these pups got in an argument with his
pedigreed police dog and when Paul jumped in
to save the mongrel, Paul almost lost his right
hand. But the next night he brought home
another stray.
Marie Dressier has never had a dog. But
not long ago Maimie. Marie's faithful maid,
picked up a little pooch and fed it. Maimie,
knowing that Marie didn't care much for dogs,
kept it in the kitchen, until one evening when
it escaped and got into Marie's bedroom.
Just to prove that he really owns a dinner coat and doesn't always go
around in a collarless shirt and suspenders, Wally Beery got all dressed
up, and he and the missus stepped out to the opening of "The Wet Parade."
But they had to hurry away in case baby Caroline, their adopted daugh-
ter, cried during the night. Mrs. Beery is almost a platinum blonde
Photoplay Magazine for June, 1932
Dressier looked at the poor animal. The
dog wagged its tail briskly and came forward
slowly.
Suddenly it leaped upon the bed and began
licking Marie's face.
So now it's Marie's pup — and Maimie had
better not claim it — and it sleeps in Marie's
room every night.
"LTARRISON CARROLL tells the
"*■ -^latest producer gag. The exec
was enraged at some claims of one
of his actors.
"What's that?" he boiled. "The
fellow claims a verbal contract? Why,
it ain't worth the paper it's written
on."
Jf '*(£ "HP*
Here's the neatest fashion trick of
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Photoplay Magazine for June, 1932
X yf A\ TBE you saw a very amusing little ani-
mated cartoon called " Peg Leg Pete, " in
which cats, dogs and mice banded together on
board ship and sang together in the most highly
acceptable Gilbert and Sullivan light operatic
manner.
Of course, even I knew that it wasn't those
drawings doing that high class warbling. And
I got out my pet pack of bloodhounds to in-
vestigate.
I discovered a very earnest, very perspiring
group of musicians who put the sound in the
Terry-Toon Cartoons. There is a quartette of
very serious gentlemen, all slightly bald and
all wearing glasses, and a young lady with a
high soprano. But they are splendid singers
and the music, written by Philip Scheib, is
really very lovely, high class stuff.
But when you hear it upon the screen that
little man, the one with the least hair of all,
will be the leader of the mice throng who will
bear down upon the cat king. The maddened
cat king is a sweet looking little man in a dark
blue suit and pince-nez. And they all work so
hard.
/^\VKR in a corner sits a gentleman with a
^neavy black moustache who does nothing
but flash a light on and off in time with the
music. He, it seems, is called a "beater" and
in some mysterious way that flashing light
makes it possible for the cartoonist to fit ac-
tion to the synchronization. The music is re-
corded first.
The short they were making the day I
watched will be called "The Mad King" and
I bet it will be swell. But I wonder what those
singers think when they hear their voices —
such nice voices, too — coming out of the mouths
of pen and ink cats and mice.
""THOSE make-up experts in Hollywood just
lie awake nights thinking up new ways to
torture the poor actors.
Jimmy Cagney was handed the role of a
prize fighter in " Winner Take All. " The
cauliflower ears were easy. Just a lot of putty,
that's all. But sinking Jimmy's nose into his
face and making it look as if it had been broken
seven or eight times was something else.
But these make-up boys won't yell "uncle"
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for a hard job. So a large wad of cotton wad-
ding was placed beneath Jimmy's upper lip,
next to the gum. That made his lip almost
touch his nose. A few carefully drawn lines
and shadows did up the broken looking effect
in a nifty style. And Jimmy is afraid of him-
self when he's on a dark street.
TT could only happen in Hollywood.
A Two extras, strangers to each other, saun-
tered into the M-G-M commissary and found
seats at the same table. One was dressed as
a count with a red ribbon strung across his
breast. The other was dressed shabbily, for
he was playing a steerage passenger in a pic-
ture.
They got to talking and presently discovered
that the man playing the count had recently
arrived in America as a steerage passenger and
the extra playing the steerage passenger was a
real count with papers and credentials to prove
it.
V\ 7"HEX Chic Sale attended the opening of
"It's Tough to Be Famous" and was in-
troduced by name the crowd jeered, "They
can't get enough stars, so they're pulling fakes
on us." For without the Uncle Joe Cannon
beard Chic is a good looking man in his thirties
with black hair and twinkling eyes.
Q.ENEVTEVETOBIN'Spetextrav-
^"■agance is shoes. They are all
made to order by Gen's favorite boot
maker and never cost less than $100
a pair. But when you see those tiny
feet in those cute shoes you can't
blame the Tobin for her vanity.
"D EMEMBF.R one of the screen's heart-
breakers, Pat Somerset?
He's now an extra at Paramount.
TD AXDOLPH SCOTT, billed as the second
Gary Cooper, is the Hollywood lad all the
Hollywood girls are crazy for. Even Mrs. Yin-
cent Astor, when she visited Hollywood, pro-
nounced him the handsomest man she has
seen. Pola Xegri and Lupe Velez thought he
was pretty fine, too. At the moment little
Martha Sleeper is his steady girl friend.
Intel
It's just one big happy family, now, and Natalie Talmadge says, as far as
she's concerned, she's forgiven hubby Buster Keaton for running away to
Mexico with the two children. But she was pretty mad at the time and,
after getting the district attorney after Buster, ran right home to sisters
Norma and Constance Talmadge. So where was Buster when this picture
was snapped? He was home putting a light in the window for Natalie.
Honest. Natalie saw it, thought it was a funny gag, and returned
Photoplay Magazine for June, 1932
Now who would have thought that
little Janet Gaynor would go native?
But this is the way she dresses when
she's in Honolulu. She owns a beach
house there, you know, and commutes
a couple of times a year. We'll accept
Janet in Hawaiian costume, but if
anybody tells us she does the hula in
off moments, we'll break out in our
loudest and most incredulous yell!
But there's a funny thing about Randy. His
photographs were great and every producer
who saw them thought he was a find but when
he had tests made before the motion picture
camera he wasn't the same lad — just didn't
click.
HpHEY tried over and over again and every-
body, including Randy, was baffled. But
Paramount was determined to get before the
camera the same thing he had in real life — you
know the word — and put him through a sort
of impromptu screen training school, to make
him more at ease.
Now he's doing fine and you'll be seeing him
soon in high class Westerns.
But Randy has a lot to learn non-profes-
sionally.
He is one of those suave Southerners who
spend most of their lives being gallant to the
ladies. Hollywood girls aren't used to so much
silver tongued flattery and every woman upon
whom Randy smiles thinks she is the chosen
one.
disagreeable
washing ... use
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SUPPOSE someone asked you to dip
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Photoplay Magazine ior June, 1932
Tl I lharlie Chaplin hasn't been doing a lot of
thinking aljout his future in the past six
months of inactivity here's something that
should make him sit down for a long conference
with himself. That is, if he really cares.
The circus opened in New York. There were
dozens and dozens of clowns to make the kids
— and grown-ups, too — laugh. But there was
not a single clown dressed up in derby hat,
cane, shoes and moustache like Charlie's.
And a few years ago no circus was complete
without at least one Charlie Chaplin clown.
And that's not all. There were three fun
makers in Mickey Mouse costume. And the
kids all loved them. Mickey has certainly
grabbed off Charlie's crown and if you want
further proof read about the Mickey Mouse
club on another page of this magazine.
'"THAT swell character actress Louise Closser
Hale ("Devotion" and '"Man Who Played
God '') remembers a lot of folks when . . .
She remembers when Connie Bennett was a
kid and used to play in McDougal's Alley-
down in Washington Square. ''Even then,"
Miss Hale says, "Connie had good taste.
Whenever she went to her father's theater she
took a cab instead of the elevated, Dick Ben-
nett insisted she use the "L. "
Miss Hale once toured on the stage with
Ruth Chatterton. Ruth, it seems, would al-
ways settle down with a book the minute they
got on a train and never look up until the trip
was over. One day Louise said, "Ruth, why
don't you look out of the window at the
scenery?" To which Ruth replied, "Why
should I? It's all in the book."
TT seems to me that Hollywood has discovered
the last word in juvenile torture. And when
you kids all over the country are complaining
about having to go to school just think of the
poor little movie youngsters who have a school
house that follows them around. Honest!
At least you others can loiter on the way to
school, but the Fox boys and girls have to
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learn reading and other things like that, in a
house that is on wheels and is pulled around so
it is just outside the set on which the kids are
working.
|" F.WIS STONE has brought his sixteen year
old daughter to his San Francisco ranch to
live with him and his young wife.
Barbara has always been in Eastern schools
before, but the new Mrs. Stone and Babs have
become great pals. After all, there are not so
very many years difference in their ages.
Lew is a funny duck — he keeps his personal
affairs pretty private and to date Barbara has
not been inside the studio. I suspect that Lew-
would do a big mad scene if she suggested be-
coming an actress.
^p HERE'S a nice, juicy little rivalry
in Hollywood that few seem to
know about. It's between Janet
Gaynor and Sally Eilers.
Oh well, girls will be girls, even in
pictures. And especially in pictures
when they are working on the same lot.
nrilE screen test — dreaded by every picture
newcomer — is also dreaded by some of the
producers. For it costs Hollywood almost
$1,000,000 a year to test embryonic actors.
One test alone averages about S300.
Here's how it's done. A test usually lasts
about four minutes and during that time the
director watches the eyes and the mouth of the
applicant. Another person makes mental notes
of the hands and feet and how they are man-
aged.
If the test shows any promise he is asked
to do a scene from a play or to do bits in va-
rious costumes, to testability to wear clothe?.
Both sides of the face are photographed to see
which one looks best. And the boys up in the
monitor room turn mysterious little dials to
catch the quality of the voice.
And for all this money and trouble only
about one out of a thousand young actors and
Yvonne Vallee (Mrs. Maurice Chevalier to you) and Mrs. Douglas Fair-
banks (Mary Pickford to you) caught by the cameraman as Mary was
seeing her pal off on the French liner lie de France. Having successfully
protected her Maurice from the gossip about his fondness for Frau Dietrich,
she's off for that dear France and home, with a smile
Photoplay Magazine for June, 1932
actresses, who even get to the point of being
tested, ever make the grade on the screen. But
it's worth it to the producers, for if one poten-
tial star is discovered the producers are re-
warded.
T^\0 you remember Dorothy Phillips who once
"^^shone so brightly in her husband Alan Hol-
lubar's pictures? Funnily enough, Dorothy
looks just about as young and lovely now as
she did then, even if she is the mother of a
seventeen year old girl.
Dorothy is different from lots of screen ma-
mas. Soon as Gwendolyn is graduated from
school she wants the girl to have a try at pic-
tures. And Dorothy can give her lots of good
advice.
Constance Cummings believes in a
nip of Scotch to add chic to a blue
satin frock. Plaid is used for an in-
terestingly draped scarf and as pleat
linings for the skirt. A short Eton
jacket shows sleeves and front of a
tan silk blouse. Satin is being
boomed for general daytime wear
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Photoplay Magazine for June, 1932
TMAGINE cowboy Huck Jones' amazement
to see himself advertised in front of the theater
where he was making a personal appearance:
"After Tomorrow" buck Jones in Person.
And he was working there that very night.
But Buck didn't mind so much for "After
Tomorrow" was the picture in which Marian
Nixon got such a good break, buck is sort of
proud of Marian. She got her start being his
leading woman in horse operas.
OHILLIPS HOLMES lives in the
smallest house in Beverly Hills.
It is just three and a half rooms, but
beautifully furnished.
Y\ 7IIi;\' Chester Morris' little son, Brooks,
had to have his tonsils out papa Chester
told the kid that he was going toa masquerade
party where everyone was to dress in white
and that they were even going to a hospital to
ask the doctors to come.
This delighted Brooks who went down the
corridors, brave as a lion tamer, until an in-
terne stopped them in the hall to say, "Well,
little man, so you're going to have your tonsils
out?"
But before Brooks had time to realize what
it was all about Chester was chasing the fright-
ened interne down the corridor, while Brooks
looked on, in great glee, at his daddy running
after a funny man all over the place.
JTEDDA HOPPER wonders why it is that
she is never hungry when it comes time for
her to order her lunch at the M-G-M commis-
sary.
Well, I haven't any physician's license and
my name isn't Arrowsmith,but I can diagnose
Hedda's case. She is one of those popular girls
who go from table to table greeting friends
and snitching an olive here and a potato chip
there. Every meal is just a buffet supper to
Hedda.
COMEBODY— maybe it was old Cal himself
'■'in a weak moment — printed the story that
European women sold their hair to the wig
makers of Hollywood. It was perfectly true,
but immediately after the little item got into
print hundreds of women in the United States
wrote to the studio offering their hair for sale.
And the studio had to write back begging them
to keep their golden locks. It's against the
federal law to sell domestic hair.
"DILL POWELL'S favorite leading
woman is Kay Francis. She has
made five pictures with him and Bill
says she can go right on as far as he
is concerned. Powell had one other
leading woman he liked as well as
Kay but he married her. That was,
of course, Carole Lombard.
T\7ELL, I wish you could see ZaSu Pitts
and Slim Summerville between scenes of
the comedy they're making, with their heads
together discussing diets for babies. Slim and
his Missus have just adopted a baby boy and
ZaSu is one of the best mothers in the business.
VJ, 71 1 F.N* a young actor named Lylse Talbot
^^ had a test made at Warners' studio hedid
a scene from "Louder Please," one of the plays
burlesqueing Hollywood. Lylse is a serious
young man. He had been playing in the piece
down in Texas and he thought it would show
what he was able to do, histrionically.
He chose the scene where the publicity di-
rector and the producer are having a heated
quarrel and did not know, until a couple of
weeks later, that the character of the producer
was a satirical replica of the man in whose
studio Lylse wanted a job. Jack Warner was
the man. But Jack saw the test. Thought
it was a great gag. And signed the boy at once.
A MOXG the many lovely things Janet
*-Gaynor brought back from Europe is a
gorgeous shade of red hair for herself. And
you should see the new Janet Gaynor bob.
Wry short and full of twirls and curleygigs.
And with those brown eyes and those cute
freckles, maybe Janet isn't a honey with that
red hair !
TTARDIE ALBRIGHT had to order a new
hat a couple of sizes larger than the old
one. For while he was making a scene in "Suc-
cessful Calamity, " George Arliss' new flicker,
the star stood by and watched.
When the director had called. -'Cut." Arliss
went over to Hardie and said, "My boy, that
is the loveliest scene I have ever seen done in
pictures. "
ROGER & GALLET, 1071 6th Ave., New York
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Here is that sweet little love cottage Rudy Vallee bought for wifey Fay
Webb. You can tell at a glance that there is plenty of room for Rudy's
saxophones and for Fay to have the girls in her sewing circle over some
afternoon. And not so long ago Fay was just a little extra girl, begging for
a bit in any old picture
jjfQ^
You had better brush up on your ma-
rine signals, boys, if you want to catch
the message Adrienne Dore is flash-
ing. There's nothing retiring about
Adrienne, her white sweater carries
in red, white and blue some such mes-
sage as "Yoo hoo, come on over!"
"D ROTHER against brother sounds like the
plot for a movie but big Vic McLaglen
didn't think so much of the idea when his
brother sued him in the Los Angeles courts for
$90,000 damages, claiming Vic spread false ru-
mors about him.
But the jury voted for Vic and another little
family squabble is ended. That's a strange
family — a very intense sort of family. Upon
occasion those brothers seem to love and ad-
mire each other but they have had some ter-
rific verbal battles — and some that weren't
verbal.
"D ARBARA KENT decided to bob her hair
and did. The next day she got a good part
in "The Killer," provided she had long hair.
So she simply took the locks she had cut off,
curled them and pinned them back on her head.
~\SO\J'D better remember the name — Michele
Bridget Farmer — for she might be a big
star some day.
Anyhow, that's what Gloria Swanson's baby
girl was christened. The Michele is for the
baby's father, Michael, and the Bridget is
simply because it's the most Irish name in
the book and Fanner is Irish.
Hollywood won't have a look at the baby for
some months, for Gloria is going to remain in
England for quite a spell and maybe, like
Corinne Griffith, do a picture there.
Photoplay Magazine for June, 1932
THEY CALL IT
'ATHLETE'S FOOT"
BUT IT ISN'T A
JOKING MATTER
IOI
ATHLETE'S
FOOT
preys on millions of people
DON'T LET IT PREY ON YOU! I
BEFORE the green leaves of summer
fade into the gold of fall, many men
and women who read no further than this
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this message to the very end.
Here is a simple statement of fact: At
least 10 million people uill be prey this
summer to that ividespread infection called
"Athlete's Foot.''''
Here is another: Countless people icho
have "Athlete's Foot'''' today are doing noth-
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danger signals serious.
The peril comes from the fact that the
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and underlying tissues. They cause the
skin to crack open, bringing on a sore-
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That's how serious "Athlete's Foot" can
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through those open sores.
Watch your step in places
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It is one of nature's ironies that "Athlete's
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For the tiny ringworm germ which
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102
Photoplav Magazine for June, 1932
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[ CONTINUED FROM PAG] 1 I
ART OR CASH
I think some of the screen players take a
. 1 1 \ bad attitude with their supercilious, "Of
course, it isn't art and I'd rather be doing
something more intellectual, but I'm just in
the movies until I make my million. " and "It's
a great racket and I'm in it for all the coin I
can grab. " When I hear that one cf the stars
has s:ii<l this I lose interest.
If they despise their work and everything
connected with it except the salary, they might
at least have the good taste to keep that fact
to themselves.
R. E. Clark, Ontario, Canada
SELF CONSCIOUSNESS GONE
The movies make one determined to get
down to the business of exercising and taking
facials. They also help me to overcome my
particular bug-a-boo, self consciousness.
Merely coming in contact with sales people
or having to stand up for my own rights makes
me tongue tied and red in the face, but just
observing how an actress gets herself out of a
tight place bucks up my poise.
When I begin to feel the effects of a deflated
ego, I treat myself to a movie starring an ac-
tress with poise. It works invariably.
Julie Herman, St. Louis, Mo.
A SECOND CHANEY
We all agreed with Mary Pickford's state-
ment, "There will never be another Lon Cha-
ney," until we saw a picture of Creighton Cha-
ney in the April issue of Photoplay. Go to it,
Creighton, you certainly have your father's
eyes. Best of luck.
Mrs. George Thalramer, Dubuque, Iowa
APPLAUSE FOR LUBITSCH
I want to add my bit of praise for a thing of
beauty. I refer to the Ernst Lubitsch produc-
tion, "Broken Lullaby." It is as though the
canvas of a great master were endowed with
life and depicted with colors both sombre and
glowing a great and poignant theme.
While such as Lubitsch direct the move-
ments of a cast it is ridiculous for any person
to rise up and call the movies "entertainment
for morons. "
E. Jane Gibson, Rochester, X. V.
SO WHAT, NORMA?
Why, oh why, doesn't Norma Shearer allow
a picture of her baby to be published? We all
would like to see him. Is it such a crime to be
a mother? All fans admire her, but don't like
the attitude she takes about her baby. Xor-
ma's popularity is waning for many reasons.
Mrs. J. Lamanna, Xew York City
HOW ABOUT HER LEGS?
The way Marlene Dietrich rolls her eyes in
that ridiculous manner is both unnatural and
unbecoming. Many other stars have eyes just
as lovely as hers and yet they do not flaunt
them before their audiences. Perhaps if Mi->
Dietrich would concentrate more time on act-
ing and less on her orbs her audience would be
more appreciative.
Lillian Norwich, Buffalo, N. Y.
WE DON'T BELIEVE IT
Perhaps you won't believe it but some of us
fans are fed up on Marie Dressier, Xorma
Shearer and Joan Crawford.
Eve Lolrin. Xew York City
DON'T DANCE, GAR BO
WThy was Garbo cast as a dancer in " Grand
Hotel "? W'e shall see Garbo's ungraceful form
struggling through the motions of a dancer
while the experienced dancer, Joan Crawford,
will be cast as a stenographer wasting her grace-
fit.0.
That earnest young man peeping into the camera is not a studio photog-
rapher. He is Prince Lennart, grandson of the King of Sweden, another
of the royal visitors on Corinne Griffith's set in London. Corinne, in
black, is posing for the prince. Directly behind her is Karin Nissvandt,
wife of the prince. You'll be seeing Corinne in "Lily Christine"
Photoplay Magazine for June, 1932
103
Hollywood has gone so intellectual
that you wouldn't know the old place.
It was a great day for the highbrows
when Elissa Landi came to town and
word sort of leaked out that she was
the author of a couple of books, pub-
lished in England. And then, before
you could put on a make-up, book-
stores started advertising "House For
Sale" written by Elissa Landi. Here
she is autographing one of the first
copies for director Henry King
ful form and beauty on the typewriter keys.
Why wasn't the casting of this picture re-
versed?
Hannah Carey, Scottsville, N. Y.
GOOD WORK, DR. LEW!
A close friend of mine had been in a serious
condition because of her refusal to undergo an
operation. Recently in "The Impatient
Maiden" she saw Lew Ayres, as a doctor, per-
form an operation and noticing the ease and
systematic methods employed by both the doc-
tor and nurses she overcame some of the preju-
dices against operations and submitted to her
own operation.
Irene Olah, Cleveland, Ohio
NOT SO GOOD, LEW!
Why doesn't Universal give Lew Ayres some-
thing worthwhile to do? We don't expect an
"All Quiet on the Western Front" every time
but why must he be wasted on such trifling
things as his recent pictures? "Heaven on
Earth " was pretty bad, but this latest atrocity
''Impatient Maiden" is an insult to an intelli-
gent audience.
Sylvester Gabrity, South Bend, Ind.
AROUND THE GLOBE
Why don't we see more of Ricardo Cortez?
I haven't seen many of his pictures but cer-
tainly would go to any theater where his films
were being shown. His acting is absolutely
perfect.
B. Ahee, Suva, Fiji Islands
I love Joan Crawford's smile. I wish she
would play dramatic roles with a laughing
face. Joan is my favorite actress, but I wish
she would laugh a little more.
Non Mitzsche, The Hague, Holland
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Remember that cute little trick, Baby Peggy, who was once more famous
than Jackie Cooper or Bobbie Coogan? Ever wonder what's become of
her? At the left is Peggy Montgomery as she is today, a personable miss
of thirteen. She lives with her father and mother on their dude ranch near
Laramie, Wyoming, and is in the eighth grade in school and smart as a
whip. She really hasn't changed a lot from the Baby Peggy (right) you
used to see. She sometimes re-visits Hollywood to see her old friends
There must have been a great sorrow in
Clark Gable's life. He vibrates sympathy.
Handsome is a commonplace way to describe
his type. As the man who grins and bears it
Clark Gable will travel far but we, who admire
him, hope that wealth will not spoil him.
Christina Nadarasa, Colombo, Ceylon
I live in a rather small town not far from
Zurich. The films we see and hear are German.
Isn't it possible for some American films to be
shown over here? Fortunately I read about
the American film industry in Photoplay but
that is not sufficient. I want to hear the real
people speaking.
\Ve saw Greta Garbo in "Anna Christie."
Of course, she talked German. Marvelous!
Isn't it possible the others can talk German,
too, or French?
Jetty Peikert, Zug, Switzerland
Surely any actor who is to take Valentino's
place must bear some resemblance to him. The
resemblance that Clark Gable bears to Valen-
tino is negligible.
Producers in Hollywood claim to have dis-
covered various second Valentinos, such as
Ivan Lebedeff, but I am convinced that the
only man who could possibly take Rudolph
Valentino's place is Ricardo Cortez.
Good looking, a fine actor and a great lover,
Cortez has been wasted on gangster parts and
petty villains.
B. Deaxe, London, England
A bouquet for Sally O'Neill. "The Brat"
was wonderful — such a relief from the prac-
ticed and heavy acting of Chatterton; quite as
sweet as Gaynor and with more vivacity and
humcr than both.
Betty Wright, Seacliff, Australia
I thought it interesting that when the great
actor, Charlie Chaplin, visited Egypt and was
asked which of his pictures he liked best, he
answered, " 'The Gold Rush.' This is the pic-
ture I want to be remembered by. "
Basil Fraxgoulis, Cairo, Egypt
Don't any of the audience who write about
"Mata Hari" happen to have noticed that
Ramon Novarro is in the picture? "Mata
Hari " has not been shown in this country yet,
but I'm dying to see it. Not because of Greta
Garbo but because Ramon Novarro, who is the
most fascinating and lovable personality on the
screen, is in it.
C. Barthelmax, London, England
We are glad to see the best American pic-
tures, but the production leaders ought to real-
ize that one good actor or star doesn't make a
picture.
Pictures like "Trader Horn" and "All Quiet
on the Western Front" are a credit to their
creators. Maurice Chevalier is a great favor-
ite. Janet Gaynor and Charles Farrell have
many friends in Sweden. So have Mary and
Doug and Charlie Chaplin. Our general opin-
ion is that the stories for Greta Garbo are, for
the most part, not good enough.
Photoplay Magazine is most appreciated,
especially among the young people who want
to live in contact with American film produc-
tion.
Kurt Palssox, Xassjo, Sweden
Photoplay Magazine tor June, 1932
It is difficult to understand why Americans
should rave over foreign actresses like Garbo,
Dietrich, or Landi when they have so many of
their own who are better. Here in this coun-
try, thousands of miles from Hollywood, Garbo
cuts little ice. It may interest you to know-
that among the women stars Joan Crawford,
Norma Shearer, Ann Harding, Ruth Chatter-
ton, Marion Davies, Joan Bennett, Barbara
Stanwyck and Marie Dressier are most popu-
lar.
C. H. Fortune, Dunedin, New Zealand
The recent onslaught upon Jean Harlow
leaves me bewildered. We in quiet England
think that Jean is worth all your Bennetts,
Garbos, Dietrichs, Crawfords etc., whom I, for
one, would not walk or ride two hundred yards
to see and Oh ! to hear.
Over here Jean's popularity will soon reach
that of Mary Pickford's in her heyday. If
America doesn't want Jean, I wish she'd jolly
well pack up and come over here.
G. Rogers, Caldmore, England
The case of Nils Asther is one of the
strangest in all Hollywood. Before
talkies he was almost as much a rave
as Gable is today. Then came the
microphone era, Nils had a Swedish
accent and— pttt— his career sputtered
like a Klieg light. Now he has
learned English and made a come-
back. What a comeback — a lead
with. Crawford in "Letty Lynton."
Incidentally, Nils' wife, Vivian Dun-
can, gave up a $5,000 a week vaude-
ville tour to be with Nils and baby
I05
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44
NERVES
1*
Aro You Always Excited? Faticuad? Worrlad? Gloomy? Pessimistic?
1 p»M»t!.. du.-v *rWI« and trahfulnro
arc r.u~-d bv KERVE EXHAUSTION
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Use Common Sense, Says Sylvia
[ CONTINUED FROU l> v
the thickened gravy fro. Xo thickened soups,
no rich desserts. Just have baked apples and
stewed fruits and — if you don't get enough that
way — buy apples and eat one or two at night.
There — now that's just common sense, isn't
it?
And you could have doped it out yourselves
as easily as I could tell you.
Hut never mind, don't feel badly. I know
that when you're fat and want to reduce you
clutch at anything, but I wish that you'd only
ask me really vital and important things in
your letters and spend the time that you spend
in writing in taking exercises and improving
yourselves.
TvTOW, there's your bawling out! You
-L^ wouldn't feel right if your Aunt Sylvia
didn't do that at least once in an article, would
you ? So now to answer the question I know
you all want to hear.
The most persistent pleas this month are,
" How can I reduce my bust?" and "How can
I make my bust firm?"
Here is the absolute, sure way of reducing
the bust, but wait until warm weather comes
to do it. You'll feel much better if you do.
Three days in succession do this. When you
get up in the morning drink a glass of hot or
cold water. Two hours later drink six ounces
of buttermilk and two hours later drink another
six ounces. Do this every two hours until bed-
time. Do this for three days in the week,
in succession. On the other four days keep up
my diet, but eat very little meat, plenty of fresh
vegetables and fruits. Eat no starches and
avoid soups or water with meals. This never
fails.
Take your chest measure before you start
and keep this up — three days on the butter-
milk diet and four days on the regular diet,
with the changes I've just given you, until
your measure is what you want it to be.
Now when you've reduced, your bust will be
inclined to be flabby. Remember that the
muscles have been so stretched that they can't
snap back at once. But don't mind if the bust
is a little flabby, so long as it is thin. Get good
brassieres and foundation garments that hold
you up. And carry yourself well.
And now, when the bust is thin enough,
begin to make the effort to make it firm. This
requires unlimited patience. But a saggy bust
can be built up, and you'll find an exercise on
these pages to show you how to do it. It
requires unlimited patience and persistence and
lots of concentration on that muscle. The bust
is most stubborn, but persistence will show
great improvement on a flabby bust.
I've also given you this month an exercise
for taking off weight from the shoulders and
back. Do this carefully.
' I 'HE exercise to reduce the thighs is the same
■*■ one I've given for hips. If you want your
legs fatter do a little tap dancing. Ride a bi-
cycle— a real one — or lie on the floor and use
your legs as if you were riding one. Climbing
stairs is another excellent way to develop the
legs. And that exercise that you all know —
hands at ri^ht angles, raise heels, take a squat-
ting position, stand upright, lower heels and
repeat. You know that one. That's excellent
for building up legs and thighs.
But don't ever for one minute get dis-
couraged. I want you to make yourselves as
beautiful as you can, but there are handicaps
that can't be overcome. Then look at the stars
and take a lesson from them. There's Garbo.
She has a big frame. She is unwise to undress
before the camera and many of her greatest
admirers (of whom I am one) have mentioned
this to me. Garbo has a big. masculine looking
frame and yet she is adored by millions. Watch
how she dresses, how she carries herself. If
you are handicapped with a big frame, do
everything you can to be attractive, but don't
ever get discouraged. Garbo's figure is not
perfect by a long shot and yet there are thou-
sands who would love to have Garbo's fame
and fortune.
Garbo uses her brains. Nobody tells her
what to wear. She figures that out herself,
knowing her defects. And see how lovely she
looks. That should give you encouragement.
A COUPLE of months ago I gave you some
1 *- exercises to make your face firm and lovely.
You can mould your face, you know, exactly
as you can mould your body. Here's a brief
review of what I gave you.
With plenty of cold cream and using the tips
of the fingers in a rotary motion and with very,
very gentle pressing, go over the whole face
concentrating on laughing wrinkles, crows feet
and lines under the eyes (but be very gentle
when you work under the eyes). Then, work-
ing upwards, press as hard as you can, making
your fingers throb like an electric vibrator, at
the temples, just under the jaw bone and
between the brows. This will stimulate the
face and get the blood circulating. Work on
the spot between your breasts and also loosen
the neck muscles by digging in with your
fingers on the back of your neck and at the
back of your shoulders. This is excellent for
the nerves.
That is the basis of everything and should
begin every facial. You'll find this month a
picture and a description of how to shape your
nose. And also there's a picture and a massage
for that bane of woman's existence — the flabby
double chin. A double chin can absolutely be
taken off if you follow my instructions. The
flabby chin is a bit more difficult and requires
more persistence. But it can be done. You
can do it yourself.
But here are some things to remember while
you're working to make your face firm and
beautiful. Comedians have funny faces be-
cause they "mugg" all the time. So avoid
making faces when you talk. Keep your face
in repose as much as you can without losing
your vivacity. Don't take any facial exer-
cises. Your ten fingers and your common sense
are all you need to mould your face as you want
it moulded, to keep your skin lovely and young
and the muscles under your face smooth. But
be as calm as possible.
H your hands are wrinkled massage them
with plenty of feeding cream every night.
Massage each finger with the other hand as if
you were pulling on a tight glove. Then sleep
in loose chamois gloves. Don't wash the hands
in hot water — use warm instead — and dry
them thoroughly, using a good hand lotion
after every washing.
TaJOW. a word to those who are under a
■•-^doctor's care. If you have a disease of
any sort, you must be patient and you must
be thoroughly well before you start reducing.
My methods are perfectly harmless. In fact
one woman wrote in to tell me that her doctor,
who had opposed the eighteen day diet vigor-
ously, said that mine is the best reducing diet
he has ever seen, and has all the necessary-
foods that a system demands. Another woman
told me that one of my exercises had abso-
lutely cured a sore spot in her breast that she
had had for years. But you must obey the
doctor first, and if you are getting well of a
serious illness you must have a little patience.
Also remember that if you are very much
out of proportion and ray diet has not reduced
you in proportion, you probably have gland
trouble and should see a doctor.
So girls, there you are for this month. Next
Photoplay1 Magazine for June, 1932
month watch out for my article, for I have some
things to tell you that I've been saving up for
a long time. Hop to it, now, and more power
to you !
Previous Articles By Sylvia In
Photoplay.
FEBRUARY — General reduc-
ing diet, general building-up
diet. Exercises to limber up the
body and prepare it for spe-
cialized reduction. General
routine for reducing fifteen
pounds in one month. Also gen-
eral advice to thin women for
gaining fifteen pounds in a
month.
MARCH — How to reduce the
hips and how to keep the face
from becoming flabby while re-
duction is going on. Diet for
anemic people. How thin girls
may make their bust larger and
general advice on keeping fit.
APRIL — How to have plenty of
pep. How to reduce the stom-
ach. Exercises toquietthenerves.
How thin girls can enlarge their
chest measure two to four inches.
And a special diet for special
occasions.
MAY — How to reduce the arms
and legs. How to hold your
shoulders up and carry yourself
well. When to leave off the diet.
And other good pieces of inter-
esting advice.
You may have any or all of
these issues by writing PHOTO-
PLAY office at 919 North Mich-
igan Avenue, Chicago, 111. They
are twenty-five cents each.
The Star of Stars
[ CONTINUED FROM PAGE 47 ]
of the "Hi, Mickey!'' greeting which is the
high-sign of every true-blue Mouser.
That concludes the rites and ceremonies of
the lodge. Then the movies begin. All have
been passed on by responsible elders of the
neighborhood. There's a cartoon, or a serial
chapter, or a two-reel comedy. Then comes a
specially selected feature.
One more ringing cheer for good old mighty
Mickey Mouse and Club's out till next Satur-
day.
What a boon to youngsters and parents
alike.
The kids have had two hours of good, clean,
variegated fun — Mamma knows that Jane and
Junior haven't been falling under trucks. And
the cost is a dime a member — a mere pittance
when you think of the big badges!
The clubs are spreading like leaping measles.
In August this year the Texas clubs will hold
a state convention, attended by the honorable
governor of the state.
But pooh! He won't have as big a badge as
the Royal Grand Chief Mickey Mouse! You
can bet on that, kids!
Gives your hair an
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Why proper shampooing gives your hair added charm — and
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FiORTUNATELY, beautiful hair isno
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on the way you shampoo it.
A filmy coating of dust and dirt is con-
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hair then becomes dull and unattractive.
Only thorough shampooing will . . . re-
move this DINGY COATING and let the
sparkle and rich, natural COLOR TONES
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While your hair must have frequent
and regular washing to keep this coat-
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bing a cake of soap over your hair . . .
(something hairdressers NEVER DO) . . .
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Besides — the hair cannot
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That is why thousands of
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Mulsified Cocoanut Oil
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This clear, pure and entirely
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Two or three teaspoonfuls of Mulsified
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You will be amazed at the difference in
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The next time you wash your hair, try a
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You can get Mulsified
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counter . . . anywhere in the
world. A 4 oz. bottle should
last for months.
MULSIFIED
COCOANUT OIL
SHAMPOO
io8
Lost Her Boy
Friends Because of
Photoplay Magazine for June, 1932
And all this began with a comic little cartoon
figure, brain-baby of Walt Disney. In a couple
of years 2.000.000 American kids will be run-
ning their own shows, and seeing good movies,
every week, under the banner of Mickey the
it It's almost unbelievable.
Yet there it is. And Walt's probably doing
all right, too.
Depicting the physical charm and attractiveness which
chicslenderness brings.
A half teaspoonful of Kruschen Salts
in a glass of hot water every morning be-
fore breakfast makes reducing a delight
—it's so SAFE and CONVENIENT. It
leaves no ugly wrinkles, no dark circles
under the eyes or ill after effects.
Rather it's a splendid health-builder — a blend of 6
SEPARATE minerals which help every gland and body
organ to function properly. You lose ugly, unhealthy fat at
the same time gain strength and energy. Many women
hasten results by going lighter on potatoes, pastries and
fatty meats.
Mrs. Ethel Smith, a nurse in Norwich, Conn, lost 16 lbs.
with the first bottle of Kruschen and reports a marvelous
gain in health.
An 85c bottle (lasts 4 weeks) is sold by
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" " MARY T. GOLDMAN "
241 1 Goldman Bldg., St. Paul, Minn.
Name
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Color of your hair.'-
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\Ye can only stand amazed at Mickey's sway.
He's all over the world, in the hearts of children
— and amusing the oldsters, tDO. All ages and
conditions surrender to his quaint appeal.
Mickey Mouse, in short, is king of the
movies.
Who is this Garbo or Gorbu, that people talk
about?
She Wants to Be Funny
[ CONTINUED FROM PACE 40 ]
her life, with the memory of one hilarious
good time all stuck full of splinters, she sudden-
ly linds herself having a grand time being funny.
When she left Fox for M-G-M. the part of a
colored maid in a Fox picture suddenly popped
up too late to take. And because she couldn't
black all over and wear pigtails, she cried for
days.
Can you picture any other blue-eyed blonde
in Hollvwood weeping for a black face and pig-
tail?
Her methodical little ways of other days still
cling, however. You can't shake off the habits
of a lifetime even if you do go comical in the
movies.
Here, for instance, are her account books.
One is marked MONEY EARXFD. Another
is MONEY SPENT.
From her first nickel earned by telling Mrs.
Jordon that she was wanted on the Merkel
telephone, she has kept track of every cent.
Here we have a page from her early Xew York
days.
Mon. 1. Posed for True Stories. Be-
trayed Girl with Child $25.00
Tues. 2. Played extra in a picture. . . . 5.00
Wed. 3. Posed for True Stories. Be-
trayed Girl without Child.. 15.00
Thurs. 4. Posed hands 5.00
Fri. 5. Posed for True Stories. Coun-
try Girl. Still betrayed. .. 15.00
Sat. 6. Posed hands 5.00
At the end of those dangling arms are per-
haps the most beautiful hands in Hollvwood.
And time after time in that account book is the
item,
Hands posed $5.00
Then come the stage entries. And then the
movies. And the little red book grows fatter
and fatter.
In the MONEY SPEXT book we find:
Mon. Dog clipped $5.00
Chewing gum (3 packages) 10
Tues. Telephone 05
Gas 1.05
Wed. 2 Chewing Gum ('can get same at
other drug store 3 for 10) 10
Car washed 1 .00
Candy 25
But Una declares the funniest thing that
happened to her was the fact she uns and
marries Ronald Burla, a young aviation en-
gineer, the day after she completed "The Im-
patient Maiden."
"They say it's a sure sign you'll be married
soon if you wear a wedding veil in a picture
and I did, but that or the name of the picture
had nothing to do with it. I swear it. . You see
it was dad and mother's anniversary and they
wanted it to be mine, too. So right out of a
clear sky I was married.
"Remember in 'The Impatient Maiden,'
Andy Devine and I are married at the last, and
I say to Andy that I jus' can't marry him as I
have no trousseau and Andy swears he'll buy
me a pair on the way to the church? Well, my
wedding was just like that. Xo trousseau.
And we didn't even stop to buy a pair on the
way to the church. And I haven't bought any
yet. Here I am. A bride. And I'm wearing
the same three nighties I always had. Xo
romance about me, I guess," she sighs.
Her mother stood looking her over the other
day. "Una," she finally said, "you jus' natu-
rally have no glamour. You're too practical for
a movie actress. Why don't you go out and
get yourself a little tlamour, child?''
"Aw," Una grinned, clutching that little
book marked MONEY EARXED, "I don't
care anything about being glamorous." (How
I wish I could write that Merkel accent!;
The grin widened.
"I jus' want to be funny."
Hoo-hoo, Mr. Postman, what would you do if you found a letter addressed
like this some morning? Honest to Betsy, a letter from Montreal, Canada,
bearing only these characters and the words, "Hollywood, California," was
duly delivered to the Hal Roach Studio to Oliver Hardy and Stan Laurel.
But don't you try it. The Post-Office has put a ban on this sort of thing
Fhotoplay Magazine for June, 1932
109
"Scarface" Paul
Muni
[ CONTINUED FROM PAGE 27 ]
The dictionary is his favorite book. He col-
lects dictionaries.
Has four hundred and fifty volumes, all sizes
and many languages.
He speaks and writes Yiddish and reads
German.
Stopping to talk to cops is one of his hobbies.
Another of his cute tricks is to tie up traffic on
Broadway. He likes to pretend that he's a hick
just in town. He stands in the middle of the
avenue, staring at the buildings and the elec-
tric signs until a cop arrives to find out what
the trouble is.
CAN'T pass a stationery store. Will stop to
look into the window the same as a woman
stops to look at a dress shop.
Always enters to buy something, even if it's
only rubber-bands.
He has a novel way of rehearsing his part for
a play or picture. He reclines on a sofa and
reads his role into a dictaphone.
Then he plays the record and listens to the
inflections of his voice and his diction.
After studying the record he stands and
enacts the part into the dictaphone. Thus he
is able to hear Paul Muni playing a role and
know how he sounds. He's his own critic.
You ought to get him to play some of the
records he made when he rehearsed " Scarface."
Many of them are not in the cut version which
is now being shown. But there is enough good
stuff in the picture to make Paul Muni the
screen's latest tough guy, who should be paying
commissions to Al Capone.
Here's a fresh-from-Hollywood fad
that thousands of girls will copy.
Mary Carlisle is wearing a nifty little
belt — nice for sports or more dressy
clothes — made entirely of cellophane
wrappers from cigarettes. And,
what's more, Marty did it herself, by
folding the cellophane into squares
and then making them into a rick-
rack design. She collected the wrap-
pers from the cigarette packages of
Clark Gable, Jack Gilbert, Wally
Beery and lots of other famous stars
GO/DOT — MJE) ODDlMnr
MM ©W DTT. . . . .h, AC&eex DOHirar
THERE WAS A MAN NEXT
TO ME ON THE TROLLEY
THIS MORNING. AND DID HE
HAVe'B.O."! I HAD TO
MOVE TO ANOTHER SEAT
WHY DID SHE GIVE ME SUCH
A FUNNY LOOK. 1 CANT
UNDERSTAND GIRLS — OR
MEN EITHER. SO STAND-
OFFISH AND UNFRIENDLY
/
i
%
tbr^\
W^i^t^A
t
A 1
\ / ffl/jffc
^viuK /
^ j-jftc*
f /jB
if
LATER SHE FOUND OUT WHY
IMAGINE HER COMPLAINING
ABOUT SOMEBODY ELSE'S 'B.O*
POOR GIRL— SHE DOESNT
REALIZE HOW OFTEN
SHE OFFENDS
IT'S A SHAME. SHE'S
SUCH A LOVELY GIRL
EXCEPT FOR THAT
ONE FAULT
WHY DIDN'T I USE
LIFEBUOY LONG AGO?
IT AGREES WITH
MYSKIN-AND
HOW CLEAN I FEEL
B.O.' (body odor) ENDED
HAPPILY ENGAGED
OH, TOM, ARENT
THE GIRLS ATTHE
OFFICE DARLINGS
TO SEND ME
ALL THESE
BEAUTIFUL GIFTS?
YOU'RE CERTAINLY
THE POPULAR
LITTLE LADY
WITH EVERYBODY.
INCLUDING ME!
Many thousands offend
— unknowingly!
WE don't know when we're guilty of
"B.O." {body odor) because we quickly
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notice instantly. Play safe— bathe regularly
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pleasant, quickly-vanishing, hygienic
scent tells you Lifebuoy protects.
Complexions grow lovelier
Lifebuoy's bland, deep -cleansing lather
frees pores of clog-
ged impurities.
Bri ngs heal thy radi-
ance to dull skins.
Adopt Lifebuoy.
A PRODUCT OF LEVER BROS. CO
I IO
Photoplay Magazine for Jtjne, 1932
If Motoring Makes
Your Eyes Burn . . .
do this for quick relief!
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safe relief. Simply apply a few drops of harm-
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Remember, too, that Murine is the favorite
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cations cost only 60c at drug and depart-
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MAKE THIS TEST! Drop Murine in one eye
only .... then note how clearer and brighter
it becomes and how very much better it feels/
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URIISE,
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Close -Ups on the Hollywood
Fashion Picture
by Seymour
OUR friend Lil Tashman certainly must
tap fashion wires to be as far in advance
of trends as she always is. Over a year
ago, before short evening wraps became the
rage they are now, Lilyan caused teacup gossip
with a short velvet cape which she wore
casually draped about her shoulders. That
cape, a season later, was seen everywhere about
town — and is still going strong.
Then Lilyan appeared at a Hollywood
premiere in the cape of capes. It was elbow
length and made entirely of silver fox skins.
Decidedly a luxury item — but the fans must
have been saving up soda money or something
because that very cape is a current wow in
evening fashions.
And speaking of Lilyan — the impassioned
pen of a society editor who saw her recently at
the Mayfair Club in New York, described her
as looking like a Grecian maid. The dress she
was wearing struck a new note in color. The
satin fabric was colored a peculiar shade that
is best described as a mud tone. You can
imagine the effect with Lil's startling hair and
skin coloring.
"pLISSA LANDI is sporting an interesting
-'—'variation of the classic mink coat these
evenings. She wears an old fashioned mink
stole, five skins wide and finished with mink
tails at the ends. It is especially striking when
worn with a white crepe frock the neckline and
decolletage of which is edged with a mink band.
Feet are the latest recruits to the "wrapped
in cellophane" vogue. Cellophane shoes are
being shown in all manner of styles for sum-
mer. Needless to say they are the lightest foot-
wear imaginable. The cellophane is woven
firmly and reinforced with kid.
JOAN CRAWFORD'S fad for wearing crisp
J white pique accents has extended to gloves
now. Smart Hollywood hands are wearing
mesh gloves that have flaring culls of white
pique. They are a knockout with the summery
looking clothes everyone is wearing out here
these days.
Turn back the pages and take a good look at
the hat Madge Evans is sporting on our cover
this month. Now here's the story about it.
Doris Kenyon saw this hat in Paris and wasn't
happy until she had it. When she wore it in
New York, heads turned on the street and
envious feminine eyes coveted it. Then Doris
let -May Allison copy it because her lovely
blonde hair showed through the clever crown
slit as strikingly as Doris's did. Now the hat
has caused such a smart furor that it deserved
the special showing which Madge Evans is
giving it here.
I
T_JERE'S something that I'll bet you didn't
■*- -*-know about Mr. George Arliss. He acts as
fashion arbiter on every costume that the fair
feminine leads of his pictures wear! He per-
sonally passes on every garment before it ever
appears before the camera. Who says that
men never notice what women wear?
How would you like to wear thirty-five
pounds of clothing at one time? Miriam
Hopkins does this neat trick in her new picture.
She plays a Russian refugee who tries to save
as many of her belongings as possible. Miriam
being practically pint size anyway you can
imagine how she looks wearing thirteen or more
pieces of clothing at one time.
Orange and black was the unusual and
startling color scheme which Barbara Stanwyck
recently elected to wear at a Mayfair Club
gathering. An orange taffeta bodice of brief
proportions topped a black crepe gown. Three
bows at one side and wide shoulder straps
trimmed the bodice. Deeply cutout sandals in
orange completed Barbara's ensemble.
At the same party, Norma Talmadge wore
a printed silk that had the built up decolletage
that is fast becoming an outstanding note in
evening gowns. A chinchilla capelet topped
this as a wrap.
T\ 70RD came from Paris, where Ina Claire
W did her shopping, that she picked out
one of those tiny short blouses which are the
rage, in a pale orange linen. She plans to wear
it with a deeper red wool suit. She also
ordered a black town dress, the chest of which
is completely covered by white gardenias.
Marlene Dietrich is promoting the all-white
vogue by wearing a tailored white flannel suit
with a topcoat of the same material. Don't
overlook flannel in your summer fashion plans.
Constance Bennett went to tea in a casual
costume the other day. She wore yellow
pajamas topped by a white coat. Connie likes
pajamas for all sorts of formal and informal
uses.
A Studio Monk Makes a Plea
[ CONTINX"ED FROM PAGE 65 ]
strength to tip me a %vink. " Don't be an ape I "
he murmured. " I know my bananas, pal. Who
paid Cap and me off on Saturday nights? " He
treated himself to a gentle scratch.
"Do you aim to work in this sequel to
'Tarzan'?"
"It's cinched. But on one condition.
They've got to give me a tew scenes. I'm fed
to the fangs with having my best scenes stolen
by Weissmuller's physique. I want them to
let me swing from a two hundred foot tree to a
turtle's back. And then it will just be my luck
to have Johnny strangling a couple of tigers a
couple of feet away!"
The monk was falling asleep. I nudged him
with my pencil.
"By the way," I said, "just for the record,
what is your real name, exactly? I've heard
them call you ' Tarzan' and ' Chita' and ' Hey
you.' "
DON'T tell a soul," said the monk, dropping
his eyes under the desk, "but it's Mary
Lou. You can call me ' Baby.' Cap does."
"A little girl!" I said, blushing.
'• Yes, and that's what burns me up. No
S. A. — that's my trouble. Do you blame me
for feeling low? It hurts a girl's pride!"
"Cheer up, Baby," I said. "Better luck in
the sequel. Personally, I think you gave a
much better show than Wcissmuller."
"No kidding?" said the chimp, flopping
wearily into her oversized suitcase. "Well, I'll
be seeing you on the lot. Don't take any
burned peanuts."
" So long, Mary Lou. No scratching at the
dinner table."
CAP Phifer and Company, bearing the sad
simian, went out into the New York after-
noon. I was left alone with our audience.
"Well," said Carolyn Van Wyck, "there's
only one left. It must be Hall."
"You're mad," said Seymour, the Photo-
play style hound, "I'm positive it's the monk."
I did not comment. I was too sad. My soul
ached for Mary Lou, the Melancholy Monk —
who had a picture stolen from her by a mere
swimmer's manly charms — who had found that
she lacked Sex Appeal!
Photoplay Magazine for June, 1932 i j i
FASHION SWIMS IN A PERFECT-FITTING JANTZEN
Leila Hyams isn't worried about get-
ting a seat at the Olympics this sum-
mer— she carries hers right along
with her! Incidentally Leila is wear-
ing what is known as smart spectator
sports togs. Her striped jacket is
brown and white, her skirt brown
wool and her comfortable ghillie ox-
fords are in brown shades, also
THE NEW FORMAL
— WITH INVISIBLE FORM-FIT TIE
# Backs are tremendously important this year.
Witness the new Jantzen Formal— featured suit
of the Southern beaches during the Palm Beach
season. A chic back design with formal effect,
contrasting shoulder straps and smart knitted
belt — an ingenious adjustable draw cord in the
back hem to assure a perfect fitting back always.
Typically Jantzen in its smooth, comfortable, per-
fect fit. Jantzen quality is the highest and prices
lowest in Jantzen history. You'll find the famous
Red Diving Girl emblem on the label of every
genuine Jantzen. Jantzen Knitting Mills, Portland,
Oregon,- Vancouver, Canada; London, England;
Sydney, Australia.
JANTZEN KNITTING MILLS, (Oepf. 5/). Portland, Oregon
Please send me style folder in colors, featuring new 1932 models.
Women's fj Men's I I
Name
Address
I I 2
Photoplay Magazine for Junk, 1932
'A
„ (rr/)l/lCrrt
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"To-may-to" or '"to-mah-to", as you
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Compared to canned juices, original
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One reason — this tomato cocktail is
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expert ly blended by Hotel Sherman
chefs into an invigorating cocktail.
Another — it's packed by the new,
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Always put up in glass containers —
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No matter how you pronounce it,
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415 Greenwich Si. . . New York
The Unknown Hollywood I Know
[ CONTINUED FROM PAGE 60 )
I had planned this month to tell you some-
thing about the charm of Ann Harding and her
love for Harry Bannister, but that fantastic an-
nouncement of their divorce knocked that yarn
into a cocked hat. Their separation hit me,
along with the rest of Hollywood, right in my
best illusion, for I thought that if ever two
people were happily married it was Harry and
Ann.
And. as I think of them no longer together. I
recall the first time that Ann vividly impressed
herself upon me. She had invited me and the
current boy friend to dinner. She and Harry
were living in a rented place then, but before
we were allowed a meal we were to meet them
at the site of the new house, that magnificent
place that they were building together and —
trulj — almost with their own hands.
A S our car made the difficult climb we saw
•**-them standing against the wind, Ann's
skirts blowing about her, that strange straw-
colored hair flying in her face. And Harry,
tanned and strong, beside her with her hand in
his. I hated to intrude upon them— their ab-
sorption in each other seemed such a perfect
thing. But Ann saw us and waved and ran
,' down to meet us.
She and Harry conducted us over ever}' inch
of the ground and pointed out the fine features
of the foundation of what was later to become
a palace.
"Here will be our room, and here Jane's
nursery — she'll have as good a view as we
have. Isn't it all too lovely?'' Ann asked.
"IT'S what Ann and I have wanted ever since
J-we've been married. A place in which we
can be perfectly happy, a place on a hill where
we can be high up above everyone else and not
have people intrude upon our lives."
"Oh. yes." Ann went on, '"that's what we've
always wanted. I hate the stage with its con-
stant moving about. Only in Hollywood could
we have this ... all this."
She flung her hands out toward San Fer-
nando Valley with its clean white roads lying
like ribbons across the landscape. But Ann
has found that in Hollywood she could not
have "all this" and Harry has found that other
people did "intrude upon their lives."
It's incredible to think that they are really
getting a divcrce. I had sort of counted on
Ann, counted on her to be different.
There's another girl in Hollywood who, I
somehow feel, will keep on being different.
That's Evelyn Brent — known to her friends as
Betty, an amazing and intense girl.
Acme
For months every other person you met in Hollywood would take you aside
and tell you the confidential news that Greta Nissen and Weldon Heyburn,
one of those big, husky film heroes, were going to be married secretly. By
the time they got around to it, it wasn't such a secret, but they ran away to
Mexico just to make it more romantic. So, after all no one was disappoint-
ed. Greta is Norwegian. Heyburn is American, and once a football star
Fhotoplay Magazine for June, 1932
Betty is the sort of person in whom everyone
confides. "Old Ma Brent," she calls herself,
and that's strange because Betty doesn't look
the type. You always imagine that a mother
confessor is a person who has a sweet, soft face
and a gentle smile, but that sullen mouth of
Betty's is a mask for one of the most under-
standing hearts in all filmdom.
I remember once watching Betty manage a
difficult situation with the skill of a master. A
girl, in a terrific emotional crisis, came to her
and accused her of saying something about her.
•' Oicl you say that about me, Betty?" she
asked.
"Yes," said Betty, "I did. I said every
word of it, and I'm not ashamed or afraid to
tell you to your face. I said you'd been acting
like a fool. You have. But there's no reason
for your being a fool. You're a good kid and
you shouldn't go around making people un-
happy because of your selfishness. Now, let's
see how you got that way."
STEP by step Betty pried into the cause of the
girl's misery and carefully and logically she
explained why there was no necessity for her
actions.
When she had finished the child wa
tears — but she had seen her mistake.
I had listened to all this and when the girl
had gone I said, "You did a great thing for
that kid, Betty, she'll thank you for that
some day."
"No," said Betty, "she won't. And besides
it won't do any good. People are what they
are and I can't change them, but I can't stand
by and see a bright youngster make a mess of
her life. And that shows I'm a fool because I
should know better."
Which shows you why, at times, Betty's
mouth is hard and cynical. She knows people,
but what is more important, she knows herself.
Her loyalty to her friends is something very
beautiful. And, withal, she has an amazing
sense of humor.
Humor, I'm afraid, is one of the things that
doesn't flourish much in Hollywood — except
that very broad, purely professional humor,
and a brand of practical jokes that could not
be understood by an outsider. Grandeur is the
word now — and just good plain humor doesn't
amount to much.
Hollywood has changed during these twelve
years. Lilyan Tashman's "Simply divine, my j
dear," has replaced little Viola Dana's "O. K."
Yet there are still all kinds of people in Holly-
wood. But Lupe Velez harks back to the old ■
school when picture stars were lusty gals of fire
and emotion. Hollywood misses Lupe badly,
since she joined the Ziegfeld show. It was fun
having Lupe around for she is (and this is
heresy to those who insist that Hollywood is a
town of quiet dignity and charm) the symbol of
Hollywood to me — bold, noisy, volatile,
utterly frank, but with a crude charm. Lupe
is as mad as that mad town. Lupe is a product
and a portrait of Hollywood.
And I think it fitting to end these screen
memories on Lupe.
For Lupe has said it all; she summed up the
Hollywood attitude when I saw her recently in
New York, just after she had opened in the
Ziegfeld show.
"T_ TOW are you getting on, Lupe?" I asked.
-*- -*- "I am fine. I am great. I stop the show
every night. I maybe do not sing so good, but
I sing loud; I maybe do not dance so good, but
I move a lot. And I don't let the other actors
take anything away from me, when I am on the
stage. I can stop the show. I am Lupe Velez.
And they all love Lupe."
And that — my friends — is Hollywood. And
that is what ninety per cent of the citizens of
Hollywood would say about themselves if they
were as frank as Lupe. Hollywood doesn't
sing so good, but it sings loud. And Hollywood
doesn't dance so good, but it moves around a
lot. And Hollywood can, and does, stop the
show.
I think Hollywood — and Lupe — are swell!
The End
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Photoplay Magazine for June, 1932
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1 CONTINUED FEOM PACES 60-67 j
Ann Dvorak
first honors in "The Crowd Roars." She re-
fused to accept star billing in "The Strange
Love of Molly Louvain." \\ ith just one day
between pictures she commenced work on
"Love Is a Racket" with Douglas Fairbanks,
Jr-
Ann is one of two people under contract to
Howard Hughes. Jean Harlow is the other.
First National made frantic efforts to buy
Ann's contract. When they failed, they rented
her for six months, and are rushing her from
one picture to another to get the most of her
talent possible for their money.
SO much for Ann's career. It's quite an
amazing one for a girl who was unknown just
a few months ago. But Ann believes that the
reason she was able to accomplish what she has
is because she is an individualist and did not
change her theories to suit "the other genera-
tion."
Ann cherishes the thought that her straight
backbone, her determined chin, her ambition
to live her life as she wills, are not inherited.
But she's wrong. Anna Lehr was feminine
enough to give up a career for marriage, in a
day when one had to make the choice, but her
will was as strong and her chin as determined
as Ann's.
Anna Lehr was one of eight children. Her
father was a tailor, an Austrian who could
hardly speak English. He worked at a tailor-
ing shop until he was seventy, fighting for
bread and butter, shoes and mittens for his
family. As soon as the children were able to
earn as much as a penny, they had to help out.
Anna Lehr danced in music halls at an age
when Ann was in a convent. She fought for
fame and success and money with the same
spirit that Ann is fighting now. Her back was
just as straight, her will just as firm, and when
she married and left the screen she passed on
her gifts to Ann with a heart that cried, "Take
them; go on and complete what I have
started."
"I will," said Ann. "But I won't give up
my success and marry. I've fought too hard
for that success."
Her mother smiled.
Ann did fight.
She got a job with a small stock company in
a suburb of Los Angeles when she was fifteen.
The company folded in a week.
She then answered an ad for dancing girls at
the Pom Pom Cafe.
"Can you dance?" the manager asked.
"Yes," said Ann.
"Show me." He nodded to the orchestra
and Ann suddenly found herself dancing to
some fast jazz tune. She had never done a solo
dance before.
" Okay," said the manager. " Do you object
to wearing scanty costumes?''
Ann's chin went a little higher. "No."
" And as for my salary — I pay the girls S25 a
week."
"I got $80 for my last engagement," Ann
lied.
AND the girl who never danced before, but
who was the daughter of a mother who had
supported seven little brothers and sisters when
she, herself, was only a child, walked out of the
place with a S65 a week contract.
But it was after that job ended and Ann
went to apply for a place in M-G-M's musical,
"The Hollywood Revue," that she showed
what she had inherited.
A long line of dancing girls, of which Ann
was one, were being put through test routines.
The director told those he didn't want to step
out of line. Ann was the first one out.
She walked up to the director. "Are you
running this show?''
He nodded.
"Well, I'm as good as the ones you chose.
Why didn't you pick me? I'm going to get
somewhere. I'm sincere. I work. I have
ambition."
When supervisor Harry Rapf came out to
look over the two dozen chosen ones he asked
what Ann was doing among them.
" She's a substitute," he was told. " If some-
body sprains an ankle. . . ."
Somebody did, the first day. Ann took the
girl's place and practiced routines all night long
at home and during her noon hours on the set,
and in six months dance director Sammy Lee
persuaded the studio to sign her up as his
assistant. She worked with Joan Crawford on
Joan's routines for "Dance Fools, Dance."
She, with another girl, originated "The
Hoosier Hop" for the Duncan Sisters. What
she did for M-G-M's stars along the dancing
line would make another story.
She also wrote music, poked her nose into
the story department and made suggestions
— until they told her to go back to her high
kicking.
A ND then Karen Morley,her friend, took her
•* Mo Howard Hughes.
Hughes had a hunch, made a test, and gave
her her chance.
Ann was now well established.
All during this time her mother was with her,
dividing her time between her husband and her
child. And Anna Lehr revelled in the success
her daughter had earned.
She is still young and beautiful, is Anna,
and she looked at her daughter with eyes
that said, "What one generation started, the
other finishes."
So that's how it was, and everybody in
Hollywood said, "That Dvorak girl is one who
won't be getting silly ideas about love and
romance. That kid is all for a career."
Then she met Leslie Fenton, a suave man of
the world over whom women raved, but who
kept himself aloof from them all. Almost be-
fore Hollywood knew what was happening, the
papers announced their marriage.
Anna Lehr talked to her daughter. "You
said, Ann, that there was no place for marriage
in your life. I thought it was only success you
were after — and independence." The mother
smiled.
"It is success I'm after — but it's different
now. I'm after two kinds of success. The
other generation couldn't manage it. My
generation can. I can make a go of my work
and my ma-riage, too. You had to give up one
for the other, mother. I don't. You just
watch and se^ if I can't have both!"
Anna Lehr be'ieves Ann Dvorak can!
George Brent
England, carried dispatches "on the run." Six
or eight weeks were as long as they usually
lasted.
That is, until they were caught by the watch-
ful eye of the English.
But George was lucky. He carried secret
mail from Dublin to Belfast and Glasgow.
When he discovered his trail was so hot it began
blazing, he slipped from Scotland down to
Land's End, England. There was an empty
freighter off the Cornish coast. He hired a man
witli a motor boat that had an ailing engine to
circle by the rope ladder hanging from the
barge.
The little boat couldn't stop because the
owner could never get it started again.
George never will do a stunt equal to that
one from real life in any picture. He admits he
wouldn't dare.
He'd be too frightened. But he made it —
and started back for America.
Neither could Clark cling to a swinging
freight train as he did in Montana. Not even
for a picture.
NOW, what could George do over here that
would always be exciting? He hated
routine. He detested discipline. He tried work-
ing in a bank, but just couldn't stick it. The
stage! Stock! A place where romance always
beckoned.
At least, if he didn't find it in real life —
there'd always be the make-believe. He got
a job in a stock company in the Bronx, New
York, and because he looked Irish and could
be secured cheap — he was chosen.
He played more than 300 leads in stock and
owned six stock companies himself. There was
a woman in one of these early stock companies
who was much older than George. She lent an
encouraging hand; told him he would be a great
actor.
He married her. A month later they sepa-
rated. A divorce followed. He hasn't mar-
ried again.
He hit New York at about the same time as
Clark.
He didn't make the grade quite as easily
on Broadway — once lived on one dollar for an
entire week.
When his screen test was shown to Ruth
Chatterton, she rose right up in the projection
room and said, "Where has that man been all
his life?"
The publicity department rushed some
pictures, hurriedly showed them to writers
with the careful admonition:
"Now, don't compare him to Clark Gable.
He's George Brent. And he's got something
all his own — "
SURE he has. I had lunch with him. His first
interview in Hollywood. I also had the first
interview with Clark.
I laughed many times, secretly, during that
luncheon with George.
It might have been the one with Clark —
except that it wasn't.
"Do you play polo, Mr. Brent?"
"Yes, but I can't afford it."
Mr. Gable had made exactly the same
answer.
Today, Clark has his own polo ponies.
I asked him his pet aversions.
One was, " People who ask too many ques-
tions."
Check, Mr. Gable.
He detests milk. Turns sick at the sight of
it.
And he'll detest this story. He wants to
rise to fame on his own feet — not as a com-
petitor to the one who's kept him fighting for
his own ounce of glory.
Incidentally, he has a dimple. Oh, now, Mr.
Gable!
Photoplay Magazine for Junk, 1932
■■■Hi
June Birthdays
June 1 — Clive Brook, Ralph Graves
June 2 — Hedda Hopper
June 4 — Lane Chandler
June 5— Bill Boyd
June 6 — J. Farrell MacDonald
June 11 — Walter Byron, Gilbert Emery,
Vera Gordon
June 13 — Basil Rathbone
June 14 — Cliff Edwards
June 16 — Stan Laurel, Ona Munson, Barry
Norton
June 17 — Vivian Duncan, Louise Fazenda,
C. Henry Gordon, Evalyn Knapp
June 18 — Edmund Breese, Ivan Lebedeff,
Jeanette MacDonald, Blanche Sweet
June 21 — Helene Costello
June 26 — Ernest Torrence
June 27 — Robert Ellis, Alberta Vaughn
June 28 — Polly Moran, Lois Wilson
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Photoplay Magazine for June, 1932
What Do You Want To
Know About The Pictures?
Is it a good picture?
Is it the kind of picture 1 would like?
Which one shall we see tonight?
Shall we take the children?
PHOTOPLAY will solve these problems for
you — save your picture time and money.
PHOTOPAY MAGAZINE
is truly the outstanding publication in
the great field of motion pictures. Its
stories, its special articles, its exclusive
features and departments are absolutely
different from anything to be found
anywhere else.
Photoplay gives you:
A wealth of intimate details of
the daily lives of the screen stars
on the lots and in their homes.
Striking editorials that cut, with'
out fear or favor, into the very
heart of the motion picture in-
dustry.
Authorized interviews with your
favorite actors and actresses who
speak frankly because Photoplay
enjoys their full confidence.
Articles about every phase of the
screen by outstanding authori'
ties who have made pictures their
life business.
PHOTOPLAY MAGAZINE
919 No. Michigan Ave., CHICAGO
Gentlemen: I enclose herewith $2 50 (Canada and
Foreign $.1 50) for which you will kindly enter my
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Photoplay's
"Shadow Stage"
is nationally famous. Here
are reviews of all the new
pictures, with the casts of
all the players. Photo-
play also prints monthly
a complete summary of
every picture reviewed in
its pages for the previous
six months. These are
but a few of a dozen great
departments in which
Photoplay is as up-to-
the-minute as your daily
newspaper. You cannot
really know the fascinating
world of the screen unless
you are a regular reader of
PHOTOPLAY
The News
and Fashion Magazine
of the Screen
Genevieve Goes
Torrid
[ CONTINUED FROM PAGE 30 )
would one day make her explode like a giant
cracker!
Universal, one day, saw her performing
prettily in a musical show called "Fifty Million
Frenchmen," later done in pictures. The
talkie headache was on. Little ladies who
could smile sweetly when they asked, "Cream
or lemon?" were in demand.
So they signed her and shipped her off to
Hollywood with a big Broadway herd and —
well, there she was.
Genevieve Tobin brought her refin ement, her
daintiness, her sweetness and her correctness to
the screen — and there it stayed. That, alas,
was precisely the trouble! The priceless old
mazzoo — the precious, indefinable something
that dives headlong from the screen and
catches the customer by the wind-pipe, simply
was not there!
A N"D no one who had followed her theatrical
-**-career expected it to be. The odds were
one million dollars, American money, to an old
vest-button that Lady Gen would contribute a
small quota of ladylike and inconspicuous
movie performances.
Further, that she would do a quiet and re-
fined flopperoo and return to the Broadway
whence she had been summarily snatched
by the movie mahouts.
But ah, that little fellow with the big stogie!
We swooned dead away when we heard that
she had been handed a zippy part in the new
Chevalier pin wheel. Tobin? Ha-ha! There
were two schools of thought in the matter.
One held that Lubitsch had swallowed a whole
perfecto and gone stark, raving mad. The
other opined that Miss Tobin was to play a
statue in the Big Palace Scene.
How wrong we were, only Time — and Ernst
—told!
"One Hour With You" duly arrived, in a
cloud of cheers. Tobin burst squarely in our
faces. She turned butterfly, and flapped her
wings — she got Maurice amorously punch-
drunk in a style that would have been a credit
to Jeanette MacDonald herself — she slithered
and swooped and wiggled around that waggish
film in a way to bedazzle the eye and hop up
the soul. She was a 100-proof, star-speckled
wow !
Her performance, the picture, the diabolical
alchemy of old Doc Lubitsch are now history.
The old boy had done it again!
And now, in re the matter of Genevieve
Tobin?
This. At the age of twenty-eight — not in-
fancy in show business, by any means — a color-
less actress stands at the brink of a new and
colorful career. The maestro has infused her
with that strange glamour he can impart. It's
the sin qua turn of modern motion pictures —
without it these days a girl may as well resign
herself to short Hollywood leases.
AND back of the new miracle of Oo-La-La
Tobin lurks that sly juggins, Lubitsch,
the star-maker!
He's responsible for an enormous amount of
the screen's current feminine richness. He put
"glamour" in Hollywood's handy dictionary
and made the town forget Madame Glyn and
her good old "It."
If he could put the stuff in bottles that comes
out of his mind he'd never have to herd hams
again.
He is the greatest sculptor of human clay
in picture history, with the possible exception
of Old Fox Griffith.
It was he who launched Negri, that raging
tigress, at us over ten years ago. Once in
Hollywood, the lady became a tabby-cat and
slowly, sadly passed from view.
Imported to California at great expense,
Photoplay Magazine for June, 1932
Lubitsch ordered ten thousand big cigars and
began his amazing career — inserting spark-
plugs and self-starters in hitherto mild, motor-
less maidens.
He took a pretty, inconspicuous musical
comedy singer named Jeanette MacDonald
and made her not only an alluring siren of the
screen boudoirs, but a fascinating comedienne
as well.
The startling metamorphosis of Miriam
Hopkins is still fresh and rare in memory. A
few mystic passes with his magic cheroot and
she was changed from a scrawny, uninspired
little trouper into a beautiful, enticing woman
— fit to tackle the torridest siren job the Holly-
wood foundries can offer.
And now we have the newest sparkler in the
royal Lubitsch line — Genevieve Tobin, ex-
Chill Sister, current pulse-jumper. She's fit to
take an honored place in the scintillating com-
pany of Ernst's graduates.
Claudette Battles On
[ CONTINUED FROM PAGE 31
trouper of the old school, this dainty little
Colbert. She's a fighter. Any youngster who
battles her way to the top in the theater has to
be, and that's what Claudette did before the
films snatched her.
She was a leading woman at twenty, and a
beauty, too. She won't be twenty-five until
Fall. Nobody gets where Claudette's gone by
sitting in a corner doing cross-word puzzles.
Colbert has been in there punching every
minute — and her honorable and successful
young career shows it.
But even these aren't enough problems.
The gabbier portion of the world seems in-
tent on splitting her marriage to young Norman
Foster wide open.
Such talk burns Claudette to a crisp.
"Why is it that the minute husband and
wife get three thousand miles apart for a couple
of weeks, everyone has their marriage squarely
on the rocks?'' she asks.
I replied that it was the evil nature of man,
and perhaps a result of the war. There's no
more sensible answer, and yet the sad fact
remains.
"Norman and I are both in the show busi-
ness. We each have a career, we prefer to be
independent in it, we love each other and we're
not let alone a minute by the gossipers. It's
a shame."
TT is, and I could only cluck my sympathy.
■*• That was a real love match, the Colbert-
Foster merger. They both had leading roles in
"The Barker" on Broadway, and caught fire
simultaneously.
What a good-looking, happy and ambitious
young team! Their picture careers started at
about the same time and both for Paramount.
They worked together in that stunning little
story of newspaper love, "Young Man of Man-
hattan."
Now Norman free-lances in Hollywood,
Claudette still labors for Paramount — and the
chatterboxes won't let up on them!
Yet Claudette takes that woe in stride, too.
It's just part of the Hollywood free-for-all, and
she's ready for it with both fists flying.
As we sat chatting, I thought what an aston-
ishing little paradox this child is. The face and
body of a big-eyed and 200 per cent feminine
girl — the indomitable spirit of a couple of Jack
Dempseys and Marshal Foches.
She likes pictures and wants to be in pictures!
She will be in pictures, and just about as long
as she likes — you can place a few wagers on
that. And she'll tussle for her place, and hold
it, though fifty glowering Garbos bar the way!
Doff the chapeau to a game little trouper!
The milk was gone and the celery tonic badly
dented.
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Be the first in your com-
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Photoplay Magazine res June, 1932
FREE... Each Week
AROCKNE Car
an
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EACH week Photoplay Magazine is awarding 104 prizes for the best
letters in answer to a simple question asked at the conclusion of each
week's Photoplay Magazine Radio Hour. Contest open to everybody,
no strings, no red-tape. Just listen in and get the question. Prizes are as
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And 100 additional prizes of
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"Well, the best of luck," I said, in my best
British-soldier, cheerio manner.
' Thanks," said Claudette. And I didn't see
her any longer as a cute French doll right out
of the bandbox, but as a steady, fine little
fighter out to battle for what she wants, and to
get it.
Have no fears for our young friend, you
Colbert fans, even if she does seem to be in
something of a tough corner. When the smoke
clears away, it won't be Claudette's battle flag
that is rolling around in the dust of Hollywood.
A charming and beautiful girl — and I want
to be on her team in a scrap.
P. S. to Norman Foster. Ah, ah, you lucky,
lucky rogue!
Hey! Hev! Here Comes
Johnny
[CONTINLI.D FROM PACE 29]
And there you have a strange commentary
on Hollywood — for until ''Tarzan, the Ape
Man" broke box-office records all over the
country and thousands of women and girls
began writing letters to M-G-M and to Photo-
play besieging them and us with questions
about Johnny, nobody gave Johnny much of a
tumble.
M-G-M owned the rights to the Edgar Rice
Burroughs Tarzan story and wanted to make
it. They took hundreds of tests of prospects.
Johnny's wife — gee, I'm sorry to have to tell
you that, but Johnny is married to a cute little
musical comedy star. Bobbe Arnst — asked the
casting director if they would make a test of
Johnny.
Johnny is the world's champion swimmer.
''Incidentally, he was a weakling and began
swimming for his health.) He is the fastest
human thing ever seen in water. He has
broken every swimming record and given
exhibitions all over the world — but he was
smart enough to retire while he was still champ
and before somebody came along to grab the
honors. So he retired and became a sort of
contact man for a bathing suit company. Wife
Bobbe was in California making short subjects.
Johnny was there on business for his company.
And it was Bobbe's idea that Johnny would be
swell in '"Tarzan." So there — now you forgive
her for marrying him, for if it hadn't been for
her Johnny would never have gotten the part.
T5 0BBE talked to the casting director. He
-'-'wasn't so keen on Johnny. "These athletes
are all right when they're athletic — but I never
saw one who could act."
"With a body like Johnny's," Bobbe an-
swered, ''he doesn't have to act. Oh, come on.
give him a test."
And since everybody else in Hollywood had
been tested for the part they thought they
might as well waste a couple of hundred feet on
Johnny. ''He looks awfully big," one of the
executives said, when he saw the enormous
Johnny in a suit of rough tweeds. But Johnny
isn't at his best in tweeds. They saw him in
the — er — costume he should wear in "Tarzan"
and they said, "That's the kid we need."
So they started to make the picture. Just a
good yarn for the kids. People came out on
the lot and said, " Uh-huh, a good looking boy."
And let it go at that. Johnny worked, and
swam, and would you believe it — none of those
hundreds of women in Hollywood gave him a
tumble.
Hollywood didn't discover Johnny Weiss-
muller. You discovered him. And you and
you and you — and me!
Hollywood is a funny town — it's got to have
its sex appeal marked in big letters. It's got to
have its lads make courtly gestures and give
the girls the flashing eye and the toothy smile.
While Hollywood was raving over a lad named
Randolph Scott — you haven't seen him yet —
from Virginia, the kind of fellow who flatters
and talks in a low, thrilling voice and looks
world-weary — Johnny Weissmuller was out on
the back lot at M-G-M riding on the back of a
hippopotamus and thinking he was making a
picture that the kids would like.
TOHXXY isn't the Hollywood type. He
I doesn't cut a very suave figure in a dinner coat.
He is just a little bit embarrassed and shy in
the presence of adoring ladies. And he's much
more at home in the water than in one of
Hollywood's all-white drawing rooms, with a
long, slim highball glass in his hand.
Johnny's got other things to think about
besides women. He likes to swim and play
golf. And, besides, he's in love with his wife.
" She's a swell kid," he says. " She likes swim-
ming almost as much as I do and she swims
under water, too, hanging onto my belt and
sputtering like a seal."
So the Hollywood gals didn't go for Johnny.
They were too busy wondering about Clark
Gable and wanting to meet Randolph Scott.
Johnny belongs to you — because you found
him.
Why, Hollywood didn't even know he had
made a good picture. His contract was for just
the one with an option for his services if he
made good. And right up until the picture
opened in New York they hadn't taken up his
option — just waiting to see.
Then "Tarzan, the Ape Man" played the
Photoplay Magazine for Junk, 1932
country — broke all bpz-office records and —
presto! — eight companies wanted this Weiss-
muller boy. He may do an Eskimo picture, or
he may — and Johnny, himself, thinks this is
smarter — just do one Tar:, in story a year.
"I should stick to Tarzan," he explains.
"You see, I'm no actor. Well, I didn't have to
act in 'Tarzan, the Ape Man' — just said, 'Me
Tarzan, you Jane.' I'll never be able to act."
But a year is such a long, long time between
Johnny Weissmuller pictures.
I'm afraid I haven't told you much about
Johnny's history. But when Tarzan walks
right in your office and stretches himself out on
your chair — not the best reporter in the world
could get a lot of facts. So I left that up to the
Answer Man. He could talk to Johnny calmly
— being of the same sex — so in the old fellow's
column you'll find out where Johnny was born
and other vital statistics. The Answer Man
had to print that in self-defense, for he's got
more questions about him than any three other
actors this month.
T^ID I say the Answer Man gave vital
-'—'statistics? Maybe you can call them vital.
But I think the most vital statistic of all is the
fact that a lad who had never been in a picture
before, who had been interested in nothing but
swimming all his life, and who frankly admits
he can't act, is the top-notch heart flutterer of
the year!
II9
Freulich
Who's this? Richard Dix doing another Indian characterization? Oh
boy, we certainly do love to fool you. Well, it fooled us, too. This is Heap
Big Chief Heaitbreaker, Lew Ayres, as he appears in "Laughing Boy" —
honest Injun ! Maybe he'll have the sort of role his friends wish him — one
good enough for the talent he showed in "All Quiet on the Western Front"
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I 20
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THIS COUPON
will entitle you to
"STARS of the
PHOTOPLAY
Photoplay Magazine iok June, 1932
//
AT THE
SPECIAL
REDUCED
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NOW ONLY
50
Thousands of copies of this de luxe edi-
tion of the Stars of the Photoplay have
been sold at the original price of $1.75
per copy, and thousands more at the re-
duced price of $1.25, but they are now
offered to Photoplay readers as long
as they last at the ridiculously low price
of 50c.
No reader can afford to be without a
copy of this wonderful collection of 250
portraits of leading moving picture stars
at this price, which is less than the single
admission price of most moving picture
theaters. The Stars of the Photoplay
will give you many evenings' entertain-
ment and will be your constant refer-
ence for information about the stars you
have seen on the screen.
The outside measurement of the book is
714 x Id/2 inches, and the size of each
portrait is 5J/2 x ^VS inches.
The portraits are rich, rotogravure repro-
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An Ideal Gift
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use, and we know you will be more than
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coupon and enclose check, money order or
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be sent by return mail.
PHOTOPLAY MAGAZINE
Dept. SP-6
919 N. Michigan Ave. CHICAGO
ote for the Best
1 icture of the I
ear
YOU who read Photoplay and are
interested in encouraging better and
better pictures have your annual oppor-
tunity— and in a way, duty — to encour-
age the producers who are making an
effort to give you fine pictures, big human
themes, and direction of the highest
quality.
Each year Photoplay awards a Gold
Medal for the best picture shown in the
previous year.
But you readers of Photoplay select
the winner. Your ballots tell the final
story.
You have never failed to make the
perfect choice, as you may see by turning
to the contents page in this issue, where
the best pictures of the past eleven years
are named.
Photoplay furnishes the Gold Medal
of Honor — the Nobel prize of the cinema,
made of solid gold, weighing 123 } 4 penny-
weights. It is two and one-half inches in
diameter, designed by Tiffany and Com-
pany, New York. But your votes are the
last word. You really award the Medal,
which is the highest honor that can be
conferred upon any motion picture com-
pany.
EACH year we ask that in selecting the
best picture you forget personalities
and consider the film as a whole, from a
standpoint of story, direction, acting,
theme, motivation and spirit.
The ballot printed below is for your
convenience. Use it.
Also you will find a list of fifty outstand-
ing films released in 1931, but that does
not mean you are limited to one of these.
You may choose any 1931 picture that
you think worthy of this highest of all
awards.
And send in your votes as early as pos-
sible.
May the most worthy picture win!
May you again be able to take just pride
in your selection! Everyone, whether he
be a subscriber to Photoplay or not,
is welcome to cast a vote.
List of Fifty Pictures Released in 1931
Alexander Hamilton
American Tragedy, An
Are These Our Children?
Bad Girl
Blue Angel, The
Champ, The
Cimarron
City Lights
City Streets
Criminal Code, The
Daddy Long Legs
Devil to Pay, The
D not ion
Dirigible
Dishonored
East Lynne
Five Star Final
Free Soul, A
Front Page, The
Guardsman, The
Huckleberry Finn
Illicit
Inspiration
Millionaire, The
Miracle Woman, The
Mother's Millions (also
titled "The She Wolf)
Night Nurse
Paid
Platinum Blonde
Politics
Public Enemy. The
Rango
Secret Six, The
Photoplay Medal of Honor Ballot
Editor Photoplay Magazine
221 W. 57th Street, New York City
In my opinion the picture named below is the
best motion picture production released in 1931.
NAME OF PICTURE
J\[ame.
Address.
Seed
Sin of Madelon Claude! , The
Sin Takes a Holiday
Skippy
Smart Money
Smiling Lieutenant, The
Spirit of Notre Dame, The
Star Witness, The
Strangers May Kiss
Street Scene
Susan Lenox, Her Fall and
Rise
Tabu
Tol'able David
Trader Horn
Transatlantic
Two Hearts in Waltz Time
Waterloo Bridge
Send
in
This
Ballot
Photoplay Magazine tor June, 1932
I 21
Short Subjects
of the Month
Hold 'er, Andy ! Bet that durn thing can go fifteen miles an
hour. It ain't safe, I tell you. If you want a good laugh
don't miss Andy Clyde in "Speed in the Gay Nineties,"
one of the funniest shorts of the month, reviewed below
SPEED IN THE GAY
NINETIES
Mack Sennet '(-Educational
You who recall the first throbs of the "horse-
less carriage" will howl at Andy Clyde's race at
the County Fair grounds. Barney Oldfield, in
person, is one of the contestants. The an-
tiquated machines race at a terrific speed of
eight miles an hour, only to be defeated by
Andy's invention, which does twenty!
FREE EATS
Hal Roach-M-G-M
Some of the gags in this " Our Gang" film are
not as funny as they might be but there's a new
addition to the gang, called Spanky, who is
just about the cutest baby actor since little
Davey Lee. Absolutely unconscious of the
camera, he puts everyone in a good humor.
Don't miss him!
IT'S A CINCH
Mermaid-Educational
A lot of fun about a poor dancing professor
who thinks that he'll win a lot of money fight-
ing the champ boxer, who has promised to
throw the fight. A spritely enough little
comedy with Monty Collins and Tom O'Brien.
THE CHIMP
Hal Roach-M-G-M
They're at it again — that Laurel and that
Hardy. This time they are circus roustabouts
who put all three rings on the bum and end up
with the flea circus and the trained monkey.
Check up another bell ringer for Stan and
Oliver.
WAR IN CHINA
Educational
Many of the most tragic and exciting scenes
of the Shanghai siege have been condensed into
this two-reel news story. As the scenes of ran-
sack, fire and death sweep across the screen,
the main events of the siege are related by a
reporter. Interesting.
IN THE BAG
l~ niversal
Slim Summerville is the Marine bugler again,
looking just as sad and just as funny as ever.
This time he smuggles a girl aboard a trans-
port. A little thing like captain's orders mean
nothing to him. Emphatically very amusing.
THE FLIRTY SLEEPWALKER
Mack Seniiett-Educatioual
Arthur Stone and Wade Boteler indulge in
some old and some new gags that will give you
a few real snickers. These two are the best of
friends until Arthur walks in his sleep. De-
cidedly not for children.
BATTLE ROYAL
RKO-Pathe
Prize fight manager Jimmy Gleason stages a
free-for-all fight with Eddie Gribbon as his star
performer and, although it is about as slapstick
as they come, and pretty rough and tumble,
there are some very amusing situations.
RADIO GIRL
Paul Terry-Toon-Educational
One of the best of this series of animated
cartoons. There are a lot of grand radio gags
including the one where a brick is thrown into
the loud speaker and it hits the announcer,
before the microphone. Broad but you'll laugh.
SEA LEGS
Vitap/ione
Wandering husband apprehended by wife who
does usual fury scene — but there are some lively
musical numbers by well known vaudeville
performers. A miniature musical comedy.
HE'S A HONEY
Vanity-Educational
This is for ardent Harry Barris fans only.
Others will realize there are some funny
moments — but Barris doesn't contribute all of
them. And it's the standard plot. Boy wins
girl in spite of father's opposition.
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I 22
Photoplay Magazine fob June, 1932
iScreen Memories From Photoplay
Freckles
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h m
f^| nTHIS item appeared in
^^ ^JJ *■ Photoplay fifteen
" J"W years ago: "Marie Dres-
^F ^, jM sler's last trip to Ix>s An-
A fl geles was to participate in
^T M 'Til!ie's Punctured Ro-
mance,' in which Charlie
Chaplin supported her and
which brought about a
law suit and a vow of
'never again' from Miss
Dressier." That "never again '' meant no more
pictures for Marie. And we tremble to think
what would have happened if she had not
changed her mind.
So let's turn to one of the funniest incidents
of all film history. A team of comics played a
hard fought baseball match against the tragics
that ended in a near riot. Charlie Chaplin
pitched for the comics and fanned Wally Reid.
When the umpire made a bad decision the Key-
stone cops pounced on him en masse. Funny —
Eugene Pallette was one of the tragics. Fifteen
years and three times fifteen extra pounds have
turned him into a comedian.
15 Years Ago
Hollywood wasn't taking itself so seriously
then and nobody had told Charlie Chaplin that
he was a tragedian. He was just a funny man
who turned out funny films — plenty of them.
Captain Ix;slie Peacock wrote of conditions
at the studios and said, "In some studios so-
called efficiency systems have been installed by
men who are ignorant of everything pertaining
to moving pictures." Those same words printed
today would be perfectly accurate.
Pauline Frederick was on the cover (she is
directing a stage play now) while Mildred
Harris. William S. Hart, May Allison, Farle
Williams. Beverly Bayne and Shirley Mason
were in the gallery.
Pictures reviewed included William Farnum
in " A Tale of Two Cities." Fdith Storey and
Antonio Moreno in " Aladdin from Broadway,"
May Allison and Harold Lockwood in "The
Hidden Children," Louise Glaum in "Sweet-
heart of the Doomed" and Jack Pickiord in
"The Dummy."
Cal York items: Lois Wilson has become a
star. . . . Bill Hart has just signed a contract
which will bring him in $5,000 a week.
10 Years Ago
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HP EX years ago we edi-
*■ torialized like this,
" The motion picture busi-
ness has a pain in the box-
office," and we added that
the current vogue of sex
and sensation pictures was
about to undermine the
industry. So don't get to
thinking that this present
cycle of sex stuff is new.
Here's a story by Adela Rogers St. Johns
called "The Girl Who Was Too Beautiful," as
tragic a yarn as has ever been written. The
girl? Barbara LaMarr, of course. Beforeshewas
sixteen Barbara had known the suffering of a
woman of sixty. Death was one of the least of
her adventures. She was one of those whose
candle burned with a light so bright that it
couldn't last. She was destined for tragedy.
And here's another page that looks gay as a
city on parade day but which holds a hidden
tear. We pictured the magnificent home of
Charlie Ray. Some of the rooms were as lovely
as those in Pickfair, but shortly afterwards
Charlie, who entertained lavishly and bril-
liantly, had to give it all up. In his day as
great as Pickford. Chaplin or Fairbanks, he is
now occasionally seen on Broadway looking for
a job. He lost all his money producing his
own films.
But here's something that goes on forever,
unchanged. We interviewed Lewis Stone, who
was doing some of his first picture work in
"The Prisoner of Zenda." and we said he was
one of the best actors. Ten years later Lew is
still one of the best actors.
Mabel Ballin was the girl on the cover and
the gallery pictures included Pola Negri,
Estelle Taylor, Gloria Swanson with Rudolph
Valentino, Leatrice Joy. Hedda Hopper, Alice
Calhoun and Gladys Walton.
The six best pictures were "Sisters," "Too
Much Business," "Fair Lady," "The Cradle,"
"Is Matrimony a Failure?" and "Pay Day."
Cal York items: Alice Brady is the mother of
a son. . . . Marjorie Daw and Johnny Harron
deny their engagement. . . . Lillian and Doro-
thy Gish were entertained at the White House
for luncheon by President and Mrs. Harding.
5 Years Ago
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, . . Still
in love
SPRIXG was in the
Hollywood air. This
was the month of ro-
mance. So we announced,
with pride, the marriage
of Irene Rich to David
Blankenhorn. And not so
long ago we told of their
divorce.
Then we described the
engagement ring that Di-
rector Mervyn LeRoy had placed on Edna
Murphy's finger. Xow they are separated.
And discreetly we hinted at the love of Xorma
Talmadge for Gilbert Roland, who was her
leading man in "Camille." Xorma remained
the wife of Joe Schenck but now that she is
almost free and might announce her engage-
ment to Gilbert, she is casting her gentle
glances in another direction.
But say a toast to Vilma Banky and Rod
LaRocque. Of all the five-year-ago June ro-
mances they are the only couple who are still
married and still in love.
It was love that made Jack Gilbert do a
little plain and fancy cutting up. Remember?
He walked into the Beverly Hills police station
to demand the arrest of a certain director
And it was all because of Garbo. Jack's a
different boy now.
In spite of Jack's whoopee making, we
pointed out that the "Real Hell Raisers of
Hollywood" were the wealthy Eastern lads
who came to the coast to crash the pictures.
Vet not a single son of the rich made a success
on the screen.
Mary Brian was the girl on the cover, while
Marion Davies, Dorothy Sebastian, Gloria
Swanson. Aileen Pringle. Ben Lyon and Alice
Joyce appeared in the gallery.
The best film of the month was C. B. De-
Mille's " King of Kings." Others praised were
Xorma Talmadge in "Camille," Gilda Gray in
"Cabaret." May Allison in "The Telephone
Girl" and "Chang."
Cal Vork items: Greta Garbo and M-G-M
have declared a truce and Greta has signed a
new contract (and now five years later may we
offer up a little prayer that history will repeat
itself).
Photoplay Magazine for June, 1932
The Shadow Stage
The National Guide to Motion Pictures
(REG. U. S. PAT. OFF.)
[ CONTINUED FROM PAGE 51 J
CONGRESS DANCES—
UFA-United Artists
A PLEASING picture, made in Germany,
with English dialogue. Good perform-
ances by Lilian Harvey, Lil Dagover and
Conrad Veidt, but the theme of kidding royal
pomp and ceremony has been used so many
times. You'll be crooning two lilting Viennese
waltz songs, "Live, Love and Laugh," and
"Just Once For All Time."
THE BIG TIMER— Columbia
THERE are a lot of novel twists to this prize-
fight yarn, and loads of laughs. Ben Lyon
plays a "ham" fighter. Constance Cummings
is the girl. Good, clean fun, and not to be
taken too seriously.
THE COUNTY FAIR— Monogram
TF it's action and thrills you crave, here they
■^■are. The story of the race-horse who wins in
the last lap is an old one, but here it is sprinkled
generously with humor. And you'll enjoy the
negro camp-meeting. Buster Collier, Marion
Shilling and Hobart Bosworth give excellent
performances.
THE MISSING REMBRANDT—
First Division
OLD-FASHIONED in treatment as these
Sherlock Holmes pictures are, they all have
an unmistakable charm that makes them de-
cidedly entertaining. And here is one of the
best, in which the amazing Sherlock (played
again by Arthur Wontner) further astonishes
the perpetually astonished Dr. Watson, by
proving a socially prominent baron to be a first-
class villain.
PROBATION— Chesterfield
TF you've been shopping around for a quiet
-'■little love story for a change, look no farther.
The story of a wealthy young woman in love
with her chauffeur is a pleasing tale that moves
along smoothly and leaves a pleasant taste.
Johnny Darrow, as the chauffeur, is grand.
And there are Sally Blape, J. Farrell Mac-
Donald and Clara Kimball Young.
AVALANCHE— First Division
IF you remember that remarkable picture
"The White Hell of Pitz Palu," you'll want to
see this one with the same daredevil German
flier, Ernst Udet; gorgeous mountain scenery
and brilliant white beauty of snow and ice.
But it hasn't the emotional quality of "White
Hell," because the English dialogue seems
stilted and the story forced.
DISCARDED LOVERS— Tower Prod.
A FAST-MOVING and novel mystery
•*»-story, in which Natalie Moorhead is the
vamp who finally pays the penalty. Good cast
and direction.
SIN'S PAY DAY— Action Pictures '
A LL about a prosecuting attorney who de-
■* Mends a gangster and loses a wife as a
result. Through the aid of a street waif,
played splendidly by Mickey McGuire, he wins
his way back to respectability. Dorothy
Revier is the wife and Forrest Stanley the at-
torney.
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PHOTOPLAY MAGAZINE
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I24
Photoplay Magazine for Junk, 1932
Opportunity *9fc
Wave You a Boy Friend
WHO NEEDS A JOB?
"VTOUNG woman,- you can help him get one! Strange as it may
-"- seem in these times, there is a group of 500 manufacturers
seeking hright young men — and women, too.
They can work right in their own home towns, and are offered
an amazing variety of quick-selling novelties and high grade
merchandise which every home must have.
Go right out today and invest ten cents in a copy of Opportunity
MAGAZINE. It's on all newsstands. Give it to him and say, "Boy,
there's your chance. Don't say I never gave you a start in life.
Some day you may come to me and thank me for starting you in
a real business career."
Even if he has never sold anything — if he has the gumption and
any personality at all, he can make a success of direct selling.
OPPORTUNITY tells him how to do it. The positions are there.
It's up to him.
Obey your impulse and do it today. You will probably be doing
him a great favor at a time when he needs it.
If your newsstand is sold out of Opportunity Magazine, send us
10 cents, and we will mail a copy to him immediately. Address
Dept. 2C.
Opportunity
The Magazine That Finds Jobs and
Teaches Salesmanship
919 North Michigan Avenue
CHICAGO
BEHIND STONE WALLS—
May/air Pictures
A DIVERTING film on the old father-son-
* * stepmother theme. An impetuous woman
shoots her lover. The boy takes the rap to pre-
serve his father's honor and illusions. The
father is the district attorney; the boy won't
talk. High-tension drama is the result.
PrisciHa Dean is the attractive adventuress.
Robert Elliott and Edward Nugent are line.
THE MIDNIGHT PATROL—
Monogram
A NOTHER newspaper yarn, but with some
■* Mirand-new angles. Regis Toomey, as an
ambitious cub reporter, does grand work, and
Robert Elliott is a convincing detective. Hetty
Bronson is the little girl they save from a
notorious gang. Fast-paced, with a surprise
finish.
HIGH SPEED— Columbia
nPH F usual auto racing yarn — villain cap-
■*- tures heroine (Loretta Sayers), and hero
(Buck Jones) rescues fair damsel in time to win
big auto race and save her father from ruin.
Plenty of action and good racing scenes. Nice
work by Buck, but all acting honors go to
Mickey McGuire, who is fine as Buck's little
lame pal.
LOVE BOUND— Peerless Prod.
A SLOW, ponderous picture. The story
■**• deals with the catching of a blackmailer by
the son of the man she has framed, but the
picture detours a bit, too many people become
involved and the outcome seems vague, even
to the actors. Natalie Moorhead and Jack
Mulhall.
POLICE COURT— Monogram
rT,HIS one creaks wearily across the screen —
*■ an old-time melodrama with Henry B.
Walthall, Aileen Pringle, King Baggott and
Leon Janney. The story, another father and
son yarn (wouldn't you just know it after
"The Champ"?), shows the life of a once great
actor who has sunk to the depths because of
the demon rum. Pretty sad.
THE THEFT OF THE MONA LISA—
Tobis
A YOUNG Italian lad is so fascinated by Da
Vinci's "Mona Lisa" that he sets it up as
his ideal of womanhood, and actually finds a
girl who bears a marked resemblance to her.
His great desire to impress the girl explains his
theft of the painting from the Louvre. English
titles are few, making it lack interest for those
who do not understand German.
GOLDEN MOUNTAINS— Amkino
A TEDIOUS Russian drama, recommended
for insomnia sufferers. It seems that a lot
of people are dissatisfied with a lot of things,
but the Soviet government makes everything
just dandy. Russian dialogue with English
titles, which don't adequately explain what
little action there. is.
RONNY— UFA
GERMAN* operetta with pleasant music, a
handsome hero in the person of Willy
Fritsch and a beautiful heroine, Kaethe von
Nagy. Plenty of English captions help make
the German dialogue understandable. The
story is all about Ronny, a beautiful, but poor,
costume designer, and the prince, who finally
asks her to share his throne.
Photoplay Magazine for June, 1932
Addresses of the Stars
Hollywood, Calif.
Paramount Publix Studios
Adrienne Ames
Richard Arlen
George Bancroft
Tallulah Bankhead
George Barbier
Eleanor Boardman
William Boyd
John Breeden
Clive Brook
Chas. D. Brown
Nancy Carroll
Maurice Chevalier
Claudette Colbert
Juliette Compton
Jackie Coogan
Robert Coogan
Can- Cooper
Frances Dee
Marie ne Dietrich
Claire Dodd
J'jnior Durkin
Stuart Erwin
Marjorie Gateson
Tamara Geva
Wynne Gibson
Phillips Holmes
Miriam Hopkins
Lenita Lane
Carole Lombard
Jeanette MacDonald
Fredric March
Sari Maritza
Marx Brothers
Frances Moffett
Rosita Moreno
Frank Morgan
Jack Oakie
Eugene Pallette
Ramon Pereda
Irving Pichel
George Raft
Gene Raymond
Charlie Ruggles
Randolph Scott
Jackie Searl
Sylvia Sidney
Alison Skipworth
Charles Starrett
Lilyan Tashman
Kent Taylor
Allen Vincent
Judith Wood
Fox Studios, 1401 N. Western Ave.
Frank Albertson
John Arledge
Warner Baxter
Ralph Bellamy
Joan Bennett
El Brendel
Joan Castle
Paul Cavanagh
Virginia Cherrill
William Collier, Sr.
Roxanne Curtis
Jesse DeVorska
Donald Dillaway
Allan Dinehart
James Dunn
Sally Eilers
Charles Farrell
Janet Gaynor
Minna Gombell
Olin Howland
Warren Hymer
J. M. Kerrigan
James Kirkwood
Elissa Landi
Edmund Lowe
Helen Mack
Kennetli MacKenna
Thomas Meighan
Una Merkel
Don Jose Mcjica
Goodee Montgomery
Ralph Morgan
Greta Nissen
Marian Nixon
George O'Brien
Lawrence O'Sullivan
Cecelia Parker
William Pawley
Yvonne Pelletier
Gaylord Pendleton
Howard Phillips
Terrance Ray
Manya Roberti
Will Rogers
Peggy Ross
Raul Roulien
Rosalie Roy
Peggy Shannon
George E. Stone
James Todd
Spencer Tracy
Marjorie White
Charles Williams
Elda Vokel
Radio Pictures Studios, 780 Gower St.
Mary Astor
Roscoe Ates
Evelyn Brent
Joseph Cawthorn
Lita Chevret
Ricardo Cortez
Lily Damita
John Darrow
Dolores Del Rio
Richard Dix
Irene Dunne
Jill Esmond
Noel Francis
Roberta Gale
Morgan Galloway
John Halliday
Hugh Herbert
Leyland Hodgson
Rochelle Hudson
Kitty Kelly
Geoffrey Kerr
Rita LaRoy
Eric Linden
Phillips "Seth Parker"
Lord
Joel McCrea
Ken Murray
Edna May Oliver
Laurence Olivier
William Post
Gregory Ratoff
Lowell Sherman
Ned Sparks
Polly Walters
Ruth Weston
Bert Wheeler
Hope Williams
Robert Woolsey
RKO-Pathe Studios, 780 Gower St.
Robert Armstrong
Constance Bennett
Bill Boyd
James Gleason
Ann Harding
Pola Negri
Eddie Quillan
Marion Shilling
Helen Twelvetrees
United Artists Studios, 1041 N. Formosa
Ave.
Eddie Cantor
Charles Chaplin
Ina Claire
Ronald Colman
Melvyn Douglas
Billie Dove
Douglas Fairbanks
Jean Harlow
Al Jolson
Evelyn Laye
Chester Morris
Mary Pickford
Gloria Swanson
Norma Talmadge
Barbara Weeks
Columbia Studios, 1438 Gower St.
Eddie Buzzell
Richard Cromwell
Constance Cummings
Susan Fleming
Ralph Graves
Jack Holt
Buck Jones
Barbara Stanwyck
John Wayne
Culver City, Calif.
Metro-Goldwyn-Mayer Studios
Nils Asther
William Bakewell
John Barrymore
Lionel Barrymore
Wallace Beery
Charles Bickford
Herbert Braggiotti
Virginia Bruce
Jackie Cooper
Joan Crawford
Kathryn Crawford
Marion Davies
Reginald Denny
Marie Dressier
Jimmy Durante
Madge Evans
Wallace Ford
Clark Gable
Greta Garbo
John Gilbert
Charlotte Greenwood
Nora Gregor
William Haines
Hal Roach Studios
Charley Chase
Mickey Daniels
Dorothy Granger
Oliver Hardy
Mary Kornman
Stan Laurel
Helen Hayes
Hedda Hopper
Leila Hyams
Dorothy Jordan
Buster Keaton
Myrna Loy
Joan Marsh
John Miljan
Ray Milland
Robert Montgomery
Polly Moran
Karen Morley
Conrad Nagel
Ramon Novarro
Ivor Novello
Maureen O'Sullivan
Anita Page
Ruth Selwyn
Norma Shearer
Lewis Stone
Lawrence Tibbett
Ernest Torrence
Johnny Weissmuller
Gertie Messinger
Our Gang
David Sharpe
Grady Sutton
Thelma Todd
Universal City, Calif.
Universal Studios
Lew Avres
Tala Birell
John Boles
Tom Brown
Lucile Browne
June Clyde
Bette Davis
Sidney Fox
Rose Hobart
Boris Karloff
Paul Lukas
Bela Lugosi
Slim Summerville
Sally Sweet
Genevieve Tobin
Lois Wilson
Burbank, Calif.
Warners-First National Studios
George Arliss
Richard Barthelmess
Joan Blondell
Lilian Bond
George Brent
Joe E. Brown
Anthony Bushell
Charles Butterworth
James Cagnev
Ruth Chatterton
Donald Cook
Lil Dagover
Douglas Fairbanks,
Jr.
Kav Francis
Ruth Hall
Ralf Harolde
Walter Huston
Leon Janney
Evalyn Knapp
Ben Lyon
Mae Madison
David Manners
Marian Marsh
Vivienne Osborne
Dorothy Peterson
William Powell
James Rennie
Edward G. Robinson
Chas. "Chic" Sale
Loretta Young
Warren William
Hollywood, Calif.
Robert Agnew, 6357 La Mirada Ave.
Virginia Brown Faire. 1212 Gower St.
Lane Chandler, 507 Equitable Bldg.
Lloyd Hughes, 616 Taft Bldg.
Harold Lloyd, 6640 Santa Monica Blvd.
Philippe De Lacy, 904 Guaranty Bldg.
Los Angeles, Calif.
Pat O'Malley, 1832 Taft Ave.
Herbert Rawlinson, 1735 Highland St.
Ruth Roland, 6068 Wilshire Blvd.
Estelle Taylor, 5254 Los Feliz Blvd.
William S. Hart, Horseshoe Ranch, Newhall, Calif.
Patsy Ruth Miller, 808 Crescent Drive, Beverh
Hills. Calif.
George K. Arthur and Karl Dane, Beverly Hills, Calif.
125
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I 26
Photoplay Magazine for June, 1932
Vlecir &
BUDDY
Vetera ris of .Foreign Wars
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Brief Reviews of
Current Pictures
[continued from page 141
SECRET WITNESS, THE— Columbia.— ZaSu
;i flustered telephone operator adds her usual
deft humor i with a double murder and a
couple ot suicides, (Feb.)
SHADOW BETWEEN, THE— Best Interna-
tional Pictures. — An old-fashioned plot with lots of
sacrifice that's just too noble. (May)
• SHANGHAI EXPRESS — Paramount. —
Oriental drama runs rampant with Marlene
Dietrich, (live Brook, Anna May Wong and Warner
Oland. Don't miss this exciting film. (April)
SHE WANTED A MILLIONAIRE— Fox— A
beauty contest winner and a mad millionaire. Joan
Bennett. (April)
SHOP ANGEL — Premier Attractions. — If you're
very, very romantic you'll like this. (April)
SILENT WITNESS, THE— Fox.— A court-room
story that is good enough for an evening. And watch
out lor this boy Lionel Atwill, new to the talkies.
(March)
• SIN OF MADELON CLAUDET, THE—
M-G-M. — One of the greatest mother
ever filmed, with Helen (stage) Hayes pulling at your
heart-strings. Don't miss it. (Drc.)
SKY DEVILS— United Artists.— Plenty of giggles.
even if you have seen and heard those gags before.
The air stuff is great. (March)
SO BIG — Warners. — Barbara Stanwyck gives a
great individual performance but the picture has not
the emotional kick of the silent version. (May)
SOOKY — Paramount. — Even if this does resemble
"Skippy." without equalling its success, young and
old will like it. The gang's all there (Jackie Cooper,
Robert Coogan and Jackie Searl) with tears and
laughs. (Feb.)
SPECKLED BAND, THE— First Division.—
Sherlock Holmes is at it again, finding sinister East
Indian death methods used in an English country
house. (Jan.)
• SPIRIT OF NOTRE DAME, THE— Uni-
versal.— Knute Rockne lives again in thi9
powerful football story with Lew Ayres and the real
Notre Dame team. (Dec.)
SPORTING CHANCE. THE— Peerless Prod —
The famous young jockey throws the race, but is re-
deemed by the love of the stable owner's daughter.
(Jan.)
STEADY COMPANY— Universal.— The romance
of a working girl and a truck driver. June Clyde,
Norman Foster and ZaSu Pitts. (April)
STEPPING SISTERS— Fox— Louise Dresser.
Minna Gombell and Jobyna Howland work hard as
hard can be and get only a few mild snickers. (March)
STOWAWAY — Universal.— Melodrama and talk
on a coastal freighter that wouldn't matter, except
for Fay W ray's beauty. (May)
STRANGERS IN LOVE— Paramount.— An old
theme (one twin brother good, the other bad) played
excellently bv Fredric March and Kay Francis.
(April)
• STRICTLY DISHONORABLE— Universal.
— You'll love this story of the grand opera
singer captured by the innocent little girl from
Mississippi. Paul Lukas, Lewis Stone and Sidney Fox
all great. (Dec.)
STRUGGLE, THE— United Artists.— Old Massa
D. W. Griffith has lost his cunning with the mega-
phone and this old-fashioned, phony. "Face on the
Barroom Floor'' melodrama is a sad spectacle for
those who remember "The Birth ofaNation." (Feb.)
SUICIDE FLEET— RKO-Pathe.— The war on a
wit and wisecracking basis with Bob Armstrong,
Jimmy Gleason and Bill Boyd as the familiar Three
Musketeers — this time in the Navy. (Jan.)
SUNSET TRAIL, THE— Tiffany Prod.— A blonde
in distress. Ken Maynard saves the situation with
gun and fist. And there you arel (March)
SURRENDER — Fox. — Warner Baxter and Leila
Hyams just work their fingers to the bone trying to
make you believe this story about a French officer im-
prisoned in a baron's castle. (Jan.)
• TARZAN, THE APE MAN— M-G-M.— A
glorilii'd fairy tale that goes Trader Horn one
better. Swimming champ Johnny YVeissmuller is
Tarzan. (April)
TAXI — Warners. — The lowdown on the taxi-cab
racket, with James Cagney and Loretta Young.
Well-done. (Jan.)
TEMPEST— UFA. — Emil Jannings fine in a Ger-
man-made comedy-drama with English titles that
help but do not adequately explain the action. (May)
TERROR BY NIGHT— Famous Attractions.—
Bet you can't guess before the last reel who did the
murder. A good mvstery with comical Una Merkel
and ZaSu Pitts. (Dec.)
TEXAS GUN FIGHTER— Tiffany Prod.— Noth-
ing new in this Western. (April)
TEX TAKES A HOLIDAY— Argosy Prod.— This
story of a Mexican cowboy wanders here, there and
everywhere. But it wanders in color, which is a help.
(March)
THIRTY DAYS— Patrician.— A wealthy tene-
ment owner plays the regeneration scene in jail.
Betty Compson and Maureen O'Sullivan make it en-
tertaining. (Jan.)
THIS RECKLESS AGE— Paramount.— In spite
of a grand cast (including Richard Bennett) this yarn
came too late. The jazz age is pretty cold. (March)
TIP OFF, THE— RKO-Pathe.— Fresh guy Eddie
Ouillan gets mixed up with gangsters and a sprightly
comedy is the result. (Jan.)
TOMORROW AND TOMORROW — Para-
mount.— A grand but conversational stage play
makes a rather dull "moving" picture. Ruth Chat-
terton and Paul Lukas. (March)
• TONIGHT OR NEVER— United Artists. —
A Gloria Swanson vehicle that sizzles and burns
with snappy love scenes. And there's a new sex
appeal lad named Melvyn Douglas. For the sophisti-
cated. (Jan.)
• TOUCHDOWN — Paramount. — A football
picture that's different — with inside stuff on
crooked methods used. Dick Arlen and Jack Oakie.
(Jan.)
TWO KINDS OF WOMEN— Paramount.—
Miriam Hopkins is in it. So is Phillips Holmes. The
story is weak but the acting isn't. (March)
TWO SOULS (Zwei Menschen)— Cicero Prod.—
Heavy drama and bright spots in the Tyrolese
country neatly combined. English titles make it un-
derstandable to those who don't speak German.
(March)
UNDER EIGHTEEN— Warners.— A neat little
picture, Marian Marsh's first starring one, about an
innocent cloak model and a rich client. (Feb.)
UNEXPECTED FATHER, THE— Universal.—
Another little girl adopts a bachelor daddy. Ho-
hum! Four-year-old Cora Sue Collins toddles off
with the honors. (Feb.)
Photoplay Magazine for Junk, 1932
UNION DEPOT -First National. — Hits of life as
you see it in a railroad station. Dour. Fairbanks, Jr.,
turns in a splendid performance, one of hi best. (Feb.)
U. S. C- NOTRE DAME FOOTBALL GAME.
THE — Sono Art-World Wide. — If you're a football
fan, you must see this visual account of one of the
greatest sports events of all time. (March)
VANITY FAIR— Allied Pictures.— They've
dressed Becky Sharp up in modern clothes and made
her Myrna Loy, and if you didn't read the book
you'll enjoy the picture. (May)
WAY BACK HOME— Radio Pictures.— If you
follow Seth Parker on the radio, you'll enjoy seeing as
well as hearing him. He uses all his radio stuff. (Dec.)
WAYWARD — Paramount. — A lot of plots
wrapped in one celluloid package. Nancy Carroll,
Richard Arlen and Pauline Frederick. (April)
• WET PARADE— M-G-M.— Both sides of the
prohibition problem presented in two hours of
exciting, thrilling drama with an excellent east.
Don't miss this. (May)
WHISTLIN' DAN— Tiffany Prod.— A Ken May-
nard Western with a plot above the average. (May)
WHY SAPS LEAVE HOME— Best International
Pictures. — England takes a jab at American gangsters
in a hilarious travesty. (May)
WISER SEX, THE— Paramount.— It has gang-
sters and politicians, but it also has Claudette Colbert
and Lilyan Tashman. (April)
WITHOUT HONOR— Supreme.— A Western
with a fair amount of thrills. (April)
WOMAN COMMANDS, A— RKO-Pathe.— Pola
Negri in her comeback film is beautiful and alluring,
but the story is trite and impossible. See Pola,
anyhow. (Feb.)
WOMAN OF MONTE CARLO, THE— First
National. — Lil Dagover bows to American audiences
in a weary, over-talkative drama. Lil could do better
with better material. (Feb.)
WORKING GIRLS— Paramount.— Two beauti-
ful country blondes learn about life in the city. But
not even Paul Lukas and Buddy Rogers can make the
story and dialogue seem real. (Jan.)
X MARKS THE SPOT— Tiffany Prod.— Another
gangster-newspaper story inspired by the Lingle case.
Pretty poor, except for a terrific climax. (Jan.)
YELLOW TICKET, THE— Fox.— Russia before
the revolution. The heroine fights for her honor. Old
stuff made worthwhile by Elissa Landi and Lionel
Barrymore. (Jan.)
YOUNG BRIDE— RKO-Pathe.— Eric Linden and
Helen Twelvetrees are better than the story. (May)
ZANE GREY'S SOUTH SEA ADVENTURES—
Sol Lesser. — Author Zane Grey goes fishing in the
South Seas for five reels. (April)
I27
Statement of the Ownership, Management, Circulation, etc., Required by
the Act of Congress of August 24, 1912,
of Photoplay Magazine Published Monthly at Chicago, Illinois, for April 1, 1932
State of Illinois. )gs
County of Cook/
Before me, a Notary Public in and for the State and county aforesaid, personally appeared Kathryn Dougherty,
who, having been duly sworn according to law, deposes and says that she is the business manager of the Photoplay
Magazine, and that the following is, to the best of her knowledge and belief, a true statement of the ownership, man-
agement (and if a daily paper, the circulation), etc.. of the aforesaid publication for the date shown in the above
caption, required by the Act of August 24, 1912, embodied in section 411. Postal Laws and Regulations, printed on
the reverse of this form, to wit: 1. That the names and addresses of the publisher, editor, managing editor, and busi-
ness managers are: Publisher, Photoplay Publishing Co., 919 N. Michigan Ave., Chicago. III. Editor, James R. Quirk,
919 N. Michigan Ave., Chicago, 111. Managing Editor, None. Business Manager, Kathryn Dougherty, 919 N.
Michigan Ave., Chicago. III. 2. That the owner is: (If owned by a corporation, its name and address must be stated
and also immediately thereunder the names and addresses of stockholders owning or holding one per cent or more of
total amount of stock. If not owned by a coiporation, the names and addresses of the individual owneis must be
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holding 1 per cent or more of total amount of bonds, mortgages, or other securities are: (If there are none, so state.)
James R. Quirk, Chicago. 111.; Kathryn Dougherty, Chicago. 111.; R. M. Eastman. Chicago. 111.; Jay A. Colvin.
Chicago, 111.; First Pnion Trust and Savings Bank — Trustee — Chicago. 111.; Foreman State Trust and Savings Bank —
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security holders, if any. contain not only the list of stockholders and security holders as they appear upon the books of
the company but also, in cases where the stockholder or security holder appears upon the books of the company as
trustee or in any other fiduciary relation the name of the person or corporation for whom such trustee is acting, is given :
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pany as trustees, hold stock and securities in a capacity other than that of a bona fide owner; and this affiant has no
reason to believe that any other person, association, or corporation has any interest direct or indirect in the said stock,
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tion sold or distributed through the mails or otherwise, to paid subscribers during the six months preceding the date
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KATHRYN DOUGHERTY,
(Signature of Business Manager.)
Sworn to and subscribed before me this 31st dav of March, 1932.
[SEAL] M. EVELYN McEVILLY,
(My commission exp;res January 20, 1935)
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[28
Photoplay Magazine for June, 1932
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which you will see
acted at your moving
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Brief reviews of cur-
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The truth and nothing
but the truth, about
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You .have read this issue
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Casts of Current Photoplays
Complete for every picture reviewed in this issue
Sire tt Address.
City
State
"AVALANCHE" — First Division. — Directed by
Dr. Arnold Fanclc. The cmst: A;<7/.; Armstrong, Leni
Rietenstahl; Hannes, SepP Rist; diet, Ernst L'det.
"BEHIND STONE WALLS"— Mavfair Pic-
rimES. From 1 1 it- story by c ;.-c.rn<- li. Scitz.
Directed by Frank Strayer. The cast: Juhn Clay.
Robert Elliott; BobClay, Eddie Nugent; Either Clay,
Priscitla Dean; Pet Harper, Ann Christy; Druggett,
Jink Keene, Robert Ellis.
••BIG TIMER. THE"— Columbia-— From the
story by Robert Kiskin. Adapted by Robert Riskin.
Directed by Eddie BuzzelL The cast: Cooky Brad-
ford, Ben Lyon; Honey 'Baldwin, Constance Cum-
mings; Kay Mitchell. Thelma Todd; Champ. Charles
Delaney; Schultzy, Tommy Dugan: Pop Baldwin,
Charles Grapewin; Sullivan, Russell Hopton; s,rappy
Martin. Jack Miller; Dan Wilson, Robert Emmett
O'Connor; Smitty. Bert Star key.
"CONGRESS DANCES"— UFA-UNITED Artists.
— From the story by N'orbert Ealk and Robert I.ieb-
mann. Directed by Eric Charell. The cast: Christd,
Lilian Harvey; Prince Mettemich, Conrad Yeidt; The
Countess. Lil Dagover; Czar Alexander of Russia,
Henry Carat; Vralsky, Henry Carat; Bihikoff. the
Czar's Adjutant, Gibb McLaughlin; Pepi, His Secre-
tary, Reginald Pur dell; Ambassador of Saxony. Eugen
Rex; Amhassador of France. Jean Dax; The Princess.
Helen Have; The Duchess. Olga Engel; The Finance
Minister, Spencer Trevor: The Mayor of Vienna,
Thomas Weguelin; The Cafe Singer, Tarquini d'Or.
"COUNTY FAIR. THE"— Monogram.— From
the story by Roy Fitzroy. Screen play by Harvey
Harris Cates. Directed by Louis King. The cast:
Colonel Ainsworth, Hobart Bosworth; Alice Ains-
worth, Marion Shilling; "Diamond" Barnett, Ralph
Ince; Jimmie Dolan, William Collier, Jr.; Curfew,
Snowflake; Lefty. Kit Guard; Gunner, George
Chesebro; "Specs" Matthe-.cs, Otto Hoffman; Hank
Bradley. Arthur Millett; Tout, Thomas R. Quinn;
Fisher, Edward Kane.
"DISCARDED LOVERS" — Tower Prod. —
Story by Arthur Hoerl. Adapted by Edward T.
Lowe. Directed by Fred Xewmeyer. The cast : Irma
Gladden. Natalie Moorhead; Chief Sommers. J. Farrell
MacDonald; Valerie Christine. Sharon Lynn; Bob
Adair. Russell Hopton; Rex Forsythe, Jason Robards;
Warren Sibley, Robert Frazer; Sergeant Delaney. Fred
Kelsev; Mrs. Sibley, Barbara Weeks; Andre Leighlon,
Roy D'Arcy.
"DOOMED BATTALION". THE"— Universal.
— From the story by Luis Trenker. Adapted by Luis
Trenker and Carl Hartl. Directed by Cyril Gardner.
The cast: Maria, Tala Birell; Florian, Luis Trenker;
Artur, Victor Varconi; Angela, Henry Armetta.
"GOLDEN MOUNTAINS "—Ameno.— Scenario
by A. Mikhailovsky. V. Nedobrovo, S. Vutkevitch
and L. Arnshtem. Directed by Sergei Yutkevitch.
The cast: Peter, Boris Poslavsky; The Boss, J. V.
Korvin-Krukovsky; His Son, B. Fedosiev; I'asily, I.
Shtraukh; Boris, E. Tenin; The Girl. N. Razumova;
The Short Worker. F. Slavsky; The Foreman. M.
Mich win; Assistant Foreman, F. Xicholaev; Police
Inspector, N. Sholkovsky; Factory Workers, B.
Chirkov. S. Kruitkov, Selianin, Dmitiriev, Lobanov.
"HIGH SPEED" — Columbia. — From the story
by Harold Shumate. Adapted by Adele Burlington.
Directed by D. Ross Lederman. The cast: Bill, Buck
Jones; Peggy, Loretta Savers; Carliss, Wallace Mac-
Donald; Buddy, Mickey McGuire; Captain of Police.
Ed Le Saint; Preston, William Walling; Ham, Ward
Bond; Kane. Dick Dickinson; Kelly. Martin Faust;
Jim, Joe Bordeaux; Whipple, Pat OlMalley; Boners,
Ed Chandler.
"INFORMATION KID, THE"— Universal —
From the story by Gerald Beaumont. Adapted by
Earl Snell. Directed by Kurt Neumann. The cast:
Marty Black, Tom Brown; Silk Henley. James Glea-
son; Sally, Maureen O'Sullivan; The Information Kid,
Andy Devine; Midge, Mickey McGuire.
"LETTV LYNTON"— M-G-M.— From the story
by Marie Belloc Lowndes. Adapted by John Meehan
and Wanda Tuchock. Directed by Clarence Brown.
The cast: Letty Lynton, Joan Crawford; Jerry Darrow,
Robert Montgomery; Emile Renaul, Nils Asther; Mr.
Hancy, Lewis Stone; Mrs. Lynton, May Robson;
Miranda. Louise Closser Hale; Mrs. Darrcr.s, Emma
Dunn; Mr. Darrow, Walter Walker; Hennessey,
William Pawley.
"LOVE BOUND"— Peerless Prod.— From the
story by Paul Schofield. Adapted by Robert F. Hill.
Directed by Robert F. Hill. The cast: Verna Wilson,
Natalie Moorhead; Vera Wendell. Natalie Moorhead;
Dick Randolph, Jack Mulball; Lucky Morrison,
Edmund Breese; Mrs. Randolph, Clara Kimball
V'oung; Mr. Randolph, Montagu Love; The Baron,
Tom Richards; Claudia, Alice Day.
■ MAN WANTED" — Warners.— From the story
by Robert Lord. Directed by William Dieterle. The
cast: Lois Ames, Kay Francis; Tom Sheridan, David
Manners; Andy Doyle, Andy Devine; Dcvens, Guy
Kibbee; Ruth Holman, Una Merkel; Fred, Kenneth
I Thomson; Miss Winkler, Virginia Sale; .4mm LcMairc,
Claire Dodd; Miss Smith, Charlotte Mcrriam-
Manager. Edward Van Sloan; Harper, Robert I
secretary, Betty Farrington.
■MIDNIGHT PATROL. THE"— Monogram.—
From the <ory by Arthur Hoerl. Screen play bv
Directed by Christy Cabanne. The
east: John Martin, Regis Toome\ ; Ellen Grey, Betty
11; Joyce Greeley, Edwina Booth; Miss Willing
Mary Nolan; Judson, Earle Foxe; Hou-ard Brady
Robert Klliott ; Stuart, Edward Kane; Powers, Wil-
liam Norton Bailey; Dummy Black, Mischa Auer.
"MISLEADING LADY. THE"— PARAMOUNT.—
From the play by Charles W. Goddard and Paul
Dickey. Scenarized by Adelaide Heilbron and
Caroline Francke. Directed by Stuart Walker. The
<..-t: Helen Stele. Claudette Colbert; Jack Craigen,
F-dmund Lowe; Honey, Stuart Erwin; Sydney Parker.
Robert Strange; Tracy. George Meeker; Alice Cannell.
Selena Royle; Bob Cannell. Curtis C<
Patrick, William Gargan; Jane Weather by, Nina
Walker; Stent, Edgar Nelson; Babe, Fred Stewart;
Spider. Harry Ellerbe; McMahon, Will Geer- Bill
Donald McBride.
•■MISSIXG'REMBRANDT. THE"— First Divi-
sion.— Adapted from "The Adventure of Charles
August Milverton" by the late Sir Arthur I
Doyle. Screen adaptation by Cvril Twvford and H.
Fowler Mear. Directed by Leslie Hiscott. The cast:
Sherlock Holmes, Arthur Wontner; Doctor Watson,
Ian Fleming; Mrs. Hudson, Minnie Rayner; Baron
Von Guntermann, Francis L. Sullivan; Carlo Rarelli,
Dino Galvani; Claude Hoi ford. Miles Mander; Lady
Violet. Jane Welsh; Inspector Leslrade. Philip Hew-
land; Marquis de Chaminade. Anthony Holies; .U<jmm-
ing, Herbert Lomas; An Agent, Ben Weldon; Chang
11 u, Takase.
"MOUTHPIECE. THE"— Warners.— From the
story by Frank J. Collins. Adapted by Earl Baldwin
Directed by James F"lood and Elliott Nugent. The
cast: Vincent Day, Warren William; Celia. Sidnev
Fox; Miss Hickey, Aline MacMahon; John, William
Janney; Barton. John Wray; Gladys. Pollv Walters;
J. B.. Ralph Ince; Elaine. Mae Madison; Miss De-
Vere, Noel Francis; Smith, Morgan Wallace; Bar-
lender, Guy Kibbee; Tony. Carroll Naish; Forbes,
Walter Walker; Garland, Jack LaRue; Pondapolis,
Stanley Fields; Jarwis, Murray Kinneli; Wilson,
Emerson Tracey.
"NIGHT COURT "—M-G-M.— From the story
by Mark Hellinger and Charles Beahan. Adapted bv
Bayard Veiller and Lenore Coffee. Directed bv W. S.
Van Dyke. The cast: Mike Thomas. Phillips Holmes;
Judge Moffell. Walter Huston; Mary Thomas, Anita
Page; Judge Osgood. Lewis Stone; Elizabeth Osgood,
Mary Carlisle; Crawford, John Miljan; Janitor, Jean
Hersholt; Grogan, Tully Marshall; Lil Baker, Noel
Francis.
"POLICE COURT" — Monogram. — From the
story by Stuart Anthonv. Directed by Louis King.
The cast: Sat Barry, Henry B. Walthall; Junior
Barry. Leon Janney; Diana McCormick. Aileen
Pringle; Harry Field, King Baggott; Uncle Albert
Furman, Lionel Belmore; Skid, Al St. John; Judge
Robert Webster, Edmund Breese.
"PROBATION" — Chesterfield. — From the
story by Arthur Hoerl. Adapted by Edward T.
Lowe. Directed by Richard Thorpe. The cast: Nick
Jarrett, John Darrow; Janet Holman. Sally Blane;
Judge Holman, J. F^arrell MacDonald; 1/aM
Eddie Phillips; Mrs. Humphreys, Clara Kinihall
Young; Ruth Jairett, Betty Grable; Alec, David
Rollins; Gwen, Mary Jane Irving; Bert, Matty
Kemp; The Kid, David Durand.
"RICH ARE ALWAYS WITH US, THE"—
First National. — From the story by E. Pettit,
Adapted by Austin Parker. Directed by Alfred E.
Green. The cast: Caroline. Ruth Chatterton; Julian,
George Brent; Allison, Adrienne Dore; Malbro, Bctte
Davis; Greg. John Miljan; 3rd Girl. Mae Madison;
Davis, John Wray; The Doctor. Robert Warwick; Flo,
Virginia Hammond; Dante, Walter Walker; Mrs.
Drake. Eula Guy; 1st Girl, Edith Allen; 2nd Girl.
Ethel Kenyon; 4th Girl, Ruth Lee; The Judge, Berton
Churchill.
"RONNY"— UFA. — From the story by Em-
merich Pressburger and Reinhold Schunzel. Directed
by Reinhold Schunzel. The cast: Ronny, Kaethe von
Nagy; Prince of Perttsa, Willy Fritsch; Director of
Perusa Theater, Otto Wallburg; Anion, Willi Grill.
"SCANDAL FOR SALE"— Universal.— From
the story by Emil Gauvereau. Adapted by Ralph
Graves. Directed by Russell Mack. The cast: Jerry
Strong, Charles Bickford; Claire Strong, Rose Hobart;
Waddell, Pat O'Brien; Dorothy Pepper, Claudia Dell;
:.v. J. Farrell MacDonald; Brownie. Harry
rd; Bunny-.vcalhcr, Berton Churchill; Stella,
Glenda Farrell; Mildred Strong, Mary Jane Graham;
Bobby Strong, Buster Phelps; Detective, Paul Nichol-
son; Police Lieutenant, James Farley.
"SHOPWORN" — COLUMBIA. — From the story by
Sarah V. Mason. Directed by Nicholas Grinde. The
cast: Kitty. Barbara Stanwyck; David. Regis Toomey;
Dot, ZaSu Pitts; Fred. Lucien Littlefield; Mrs. Living-
slon. Clara Blandick; Toby, Robert Alden; Forbes,
Oscar Apfel; Mrs. Thorne, Maude Turner Gordon;
Andre, Albert Conti; District Attorney, James Durkin;
Mr. Dean, Wallace Clarke; Bierbauer, Edwin Max-
well.
"SIN'S PAY DAY" — Action Pictures. — From
the story by Gene Morgan and Betty Burbridge.
Directed by George B. Seitz. The cast: Iris Mar key,
Dorothy Revier; James Markey, Forrest Stanley;
Chubby Dennis. Mickey McGuire; Louie Joe, Harry
Semels; David Lee, Alfred Cross; Jake Bernheim, Hal
Price; Robert Webb, Lloyd Whitlock; Jane Webb, Bess
Flowers.
"STRANGE CASE OF CLARA DEANE. THE"
— PARAMOUNT. — -From the play by Arthur M. Bril-
ant. Scenarized by Max Marcin. Directed by Louis
Gasnier and Max Marcin. The cast: Clara Deane,
Wynne Gibson; Frank Deane. Pat O'Brien; Nancy,
Frances Dee; Garrison, Dudley Digges; Ware, George
Bar bier; Norman, Russell Gleason; Miriam, Florence
Britton; Herzmann. Lee Kohlmar; Lew Sever en,
Arthur Pierson: Mrs. Lyons, Clara Blandick; Nancy
(as a child), Cora Sue Collins.
"STRANGE LOVE OF MOLLY LOUVAIN,
THE'' — First National. — From the story by
Maurine Watkins. Adapted by Erwin Gelsey and
Brown Holmes. Directed by Michael Curtiz. The
cast: Molly. Ann Dvorak; Scotty, Lee Tracy; Jimmy,
Richard Cromwell; Pop, Guy Kibbee; Nick, Leslie
Fenton; Skeets. Frank McHugh; Sally, Evalyn
Knapp; Capt. Slade, Charles Middleton; Martin, C.
Henry Gordon; Dance Hall Girl, Mary Doran; Sgt.
Murdoch, Willard Robertson; Taxi Driver, Harry
Beresford; Bell-boy, Harold Waldridge; A Policeman,
William Burress; Mrs. Shiller, Claire McDowell;
Sally's Pal, Maurice Black; College Boy, Ben Alex-
ander; A Detective, Richard Cramer; Ralph, Donald
Dillaway; Harley, Hank Mann.
"SYMPHONY OF SIX MILLION" — Radio
Pictures. — From the story by Fannie Hurst.
Adapted by Bernard Schubert and J. Walter Ruben.
Directed by Gregory La Cava. The cast: Felix,
Ricardo Cortez; Jessica, Irene Dunne; Hannah, Anna
Appel; Meyer, Gregory Ratoff; Birdie, Lita Chevret;
Magnus, Noel Madison; Miss Spencer, Helen Free-
man.
"THEFT OF THE MONA LISA, THE"— Toms.
— Scenario by Walter Reisch. Directed by Geza Von
Bolvary. The cast: Vincenzo Perugia, Willy Forst;
Mathilde, Trude Von Molo; An Art Agent, Gustav
Gruendgens; The Director of the Louvre, Fritz Odemar;
The Chief Inspector of the Louvre, Max Guelstorf; The
Police Commissioner, Roda Roda; A Traveling Sales-
man, Anton Pointner; The Landlady, Rosa Valetti;
The Orator, Alexander Granach.
Photoplay Magazine for June, 1932
"THIS IS THE NIGHT"— Paramount.— From
the play by Avery Hopwood. Adapted by G
Marion. Jr. Directed by Frank Tuttle. Tin- cast:
Germaine, Lily Damita; Bunny West, (
Rugelesj Gerald Grey. Roland Young; Claire, Thelma
Todd; Stepan, Cary Grant; Jacques, Irving Bacon;
Chou-Chou, Claire Dodd.
"TRIAL OF VIVIENNE WARE. THE"— Fox.
— From the novel by Kenneth M. Ellis. Screen play
by Philip KJi-ir, and Barry Conners. Directed by
William K. Howard. The cast: Vtvienne Ware, Joan
Bennett; John Sutherland, Donald Cook: Graham
McNally, Richard "Skirts'' Gallagher: \h
weather, ZaSu Pitts; Dolores Divine, Lilian Bond;
Prosecutor, Allan Dinchart; William I>"
Mundin; Minetli, Howard Phillips; Pareme, Noel
Madison; Judge, J. Maurice Sullivan; Merced,
Ruth Selwyn; Gilk, William Pawley; Elizabeth H
Maude Eburne; Mr. Hardy, Eddie Dillon: I
Vandeler, Nora Lane; Daman Fenwieke, Jan
Thomas; Axel, Christian Rub; Juror, Bert Hanlon.
"TWO SECONDS"— First National.— From
the play by Lester Elliott. Adapted by Harvey
Thew. Dir ected by Mervyn LeRoy. The cast: John
Allen, Edward G. Robinson; Bud. Preston Foster;
Shirley, Yivienne Osborne; Tony. Carroll Naish;
Bookie, Guy Kibbee; Annie, Adrienne Dore; Jud^e,
Walter Walker; Lizzie, Dorothy Wolbert; The Doctor,
Edward McWade; The Warden, Berton Churchill; .1
College Boy, William Janney; Reporter, Lew Brice;
Reporter, Franklin Parker; Reporter, Frederick
Howard; Landlady, Helen Phillips; Fat Girl, June
Gittleson; Tart, Jill Dennett; Tart, Luana Walters;
Justice of Peace, Otto Hoffman.
"WHEN A FELLER NEEDS A FRIEND"—
M-G-M. — From the story by William Johnston.
Continuity by Sylvia Thalberg and Frank Butler.
Directed by Harry Pollard. The cast: Limpy,
Jackie Cooper; Jonas, Charles (Chief Sale; Mr,
Randall, Ralph Graves; Mrs. Randall, Dorothy
Peterson; Froggy, Andy Shuford; Diana, Helen
Parrish; Bullen Boy, Donald Haines; Abraham, Gus
Leonard; Doctor, Oscar Apfel.
"YOUNG AMERICA"— Fox.— From the play by
John Frederick Ballard. Screen play by William
Conselman. Directed by Frank Borzase. The cast:
Jack Dor ay, Spencer Tracy; Edith Doray, Doris
Kenyon; Arthur Simpson, Tommy Conlon; Judge
Blake, Ralph Bellamy; Grandma Beamish, Beryl
Mercer; Airs. Taylor, Sarah Padden; Patrolman
Weems, Robert Homans; Nutty. Raymond Borzage;
Mabel Saunders, Dawn O'Day; Cassie Taylor, Betty
Jane Graham; Maid, Louise Beaver; Bull Carron,
Spec O'Donnell; Bandit, William Pawley; Bandit,
Eddie Sturgis.
These picture people — is there no end to their talents? We thought it was
pretty swell that Jean Hersholt was such a good actor. But between
scenes of "Grand Hotel," he improved each shining minute by making
sketches of the cast. Do you think he got a good likeness of Garbo?
129
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More than fifty famous
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Send us your name, age, occupation, and ad-
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Our private rambler
shows you a brutal
murder, an automo-
bile accident, a lazy
Mexican village and
some strange
goings-on in a
Chinese hotel. But
in Hollywood it's
"just another day"
Oh, it's a hard life
these actors lead.
Look at poor Ches-
ter Morris and Adri-
enne Ames having
their luncheon
served right out
under a shady tree
on location for "Sin-
ners in the Sun"
Studio Rambles
By Sara
Ha m ilton
MIDNIGHT. Shadows creeping out
from the huge buildings. A deadly
silence. Through the vast lot of First
National Studios we steal, silently. A
soft wind whistles and moans around the
corners.
Far out on the back lot "Doctor X,"
another horror picture, is being made. Its
first scene to be shot appropriately and
promptly at midnight. The scene is an
old manse. Lights gleam through the
windows. Outside, artificial rain beats
and pours against the panes.
Four men approach the door, and
quietly knock. We glimpse Lee Tracy.
And there's John Wrav. Slowly and
softly the door is opened. In the light
within we catch a glimpse of Fay Wray's
frightened face. And then a hand steals
around the door. An arm. A second
later the horrible Doctor X. We're off
shrieking like a wild turkey, down Dark
Canyon and under the bed.
The sound of brakes. A crash. A jar.
And another car hits the old elm tree.
The chauffeur, Chester Morris himself,
alights. Adrienne Ames, the lady in the
rear, alights. As a matter of fact, they
alight together with another bump. Of
heads this time. A blow-out, a scramble
for tools, amusing repartee, a little of this,
a bit of that, a kiss — but wait. Mustn't
tell too much of "Sinners in the Sun."
Off in a far corner of a Paramount
sound stage stands the tree with the green
grass growing all around. And the huge
car, with Chester and Adrienne, against
it. A bored mechanic stands on the rear
ISO
bumper, just out of camera range. Now.
The signal is given. L'p and down
bounces the mechanic to give the effect
of bumping. The jar is perfect. And the
tree considers itself properly hit. But
sh-h-h — don't tell I let you in on this.
They're funny that way, in the movies.
Now what's the trouble? Good heavens,
it's Chester's shirt. What? Oh, it isn't
blue enough and when Chester removes
his coat it photographs gray. Blue takes
white in pictures, you know.
So out goes a prop boy and in two
minutes' time — no more, he's back with
a violent blue shirt.
And a lady politely withdraws to peep
into a cozy little — ahem, affair between
Jimmie Dunn and Peggy Shannon out at
Fox. "Society Girl" is in the making.
Joan Bennett is visiting behind a bit of
scenery. Reading a book.
GLANCE around. Lavishness. Splen-
dor. Silken gauze drapes. Velvet
hangings. Gleaming chandeliers. A New-
York apartment that is a New York
apartment. On an alluring couch (dear
me) sit Jimmie and Peggy. Now over to
the victrola. Sweet, soft music. She's in
his arms. Dancing. Floating about the
lovely rooms. On the sidelines, the faces
of the electricians and carpenters take on
a wistful look, I swear it. Like a feather,
they float, these two. High above on a
rafter, an electrician leans on one elbow
and gazes down. Suddenly the grin, the
wisecracking smirk, dies an instantaneous
death on the face of Jimmie. He looks
long and deeply into the eyes of Peggy.
And sighs. A bit closer he holds her and
right here is where we scurry over to the
side lot and enter, will wonders never
cease, a complete Mexican village.
Suddenly, there's a commotion. The
villain comes hurtling out the door. An
Indian grabs a gun. Clippety clip they're
off on a chase and before we can catch our
breath, behind a dobie shack comes
another and another. Tearing madly by.
LOOK. On those steps over there.
Lovely Cecilia Parker and George
O'Brien. And now, for heaven's sake,
George grabs Cecilia's hand and they're off
on another chase. It'sallfor"The Killer."
Straight from Mexico to China in
twenty minutes. With little Chinese
children playing in the streets of Radio
Pictures Studio. Women with high
Oriental headdresses. Chinese men in
native costumes. A clatter of high
Chinese voices. The "Roar of the
Dragon" is in progress.
A vision flits by. It's Gwili Andre, the
newcomer. And, as I live, over there sits
ZaSu Pitts with a lapful of Chinese babies.
Silence now. The Klieg lights catch
the gilt of the Chinese decorations. Ac-
tion now. Up to the desk of this little
hotel in China strides a tall American.
There's a gasp from Arlene Judge who
is watching Richard Dix out of sight.
Then we see. For Richard has with
him a beautiful Chinese maiden.
And with that we rush right home to
tell Richard's lovely wife. Such goings on !
There's more Chicle in it
that's what makes it better
It's the amount and quality of chicle used that makes
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Hear the Chesterfield Radio Program.
Every night except Sunday. Columbia
network. See local newspaper for time.
tK>&r" I MYI«S TO»A«0 CO
ahz up to
till mirtuJjt
On the way home I stopped at
the drug store to buy a package
of cigarettes.
It was just coincidence, of
course, but the clerk said that
Chesterfields are the style;
that more and more smokers
are calling for them . . .
They're milder. They contain the
mildest tobaccos that money can buy.
They taste better. Rich aroma of
Turkish tobacco and mellow sweetness
of Domestic, blended and cross-blended
the Chesterfield way.
They're pure. Everything that goes
into them is tested by expert chemists.
It's the purest cigarette paper made —
tasteless and odorless.
They satisfy. You break open a clean,
tight-sealed package. You light up a
well-filled cigarette. Yes . . . you're going
to like this cigarette! And right there
is where many a smoker changes to
Chesterfield. They Satisfy!
at
id
TASTES BETTER
© 1932. Liggett & Myers Tobacco Co.
i
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